Color Into Value

Value describes achromatic color, that is, color devoid of hue. So, how do we translate objects that are full of color in real life into black and gray drawings? You have to look at the lightness and darkness of a color in order to determine its value. Keep in mind that color is separate from value; a red tie and a blue suit may be different hues, but they may share the same value.

In this illustration please find one linear grayscale and two gray "wheels". One of the wheels is a true grayscale, while the other is a color wheel converted into a grayscale. Can you see the translation of color into value? (NOTE: This example is truly affective when the student has knowledge of what a color wheel looks like.)

This fabric collage provides a clear example of that translation, and the idea that color is separate from value.

Local Value

Value is determined by the inherent color of a form and by the amount of light falling on a form. Local value is intrinsic to an object and is separate from the lights and darks created by light falling on that object. For example, the local value of an egg is white and the local value of a crow is black.

Light Logic

Observing the way light interacts with an object or group of objects, noticing shadows and the resulting variations in value, is light logic. Think about how light falls on spheres, cylinders, cones, and organic volumes creating a gradual change from light to dark over their surfaces. Alternatively, cubes, pyramids, and other angular forms change abruptly from light to dark at the intersections of their planes. The intensity of shadows and how clean their edges are is directly related to the strength of the light and its proximity to an object.


Light and shadow on a volume can be reduced to six categories, of course each subject requires more specific investigation to be accurate. The six categories are as follows:

1. Highlight (most often the brightest/lightest part of your object; where the light hits and bounces directly back)
2. Light (light is washing over the object, illuminating)
3. Shadow/Half Tone (true color of the object; the object is beginning to turn away from the light and coming into shadow)
4. Core Shadow (typically the darkest part of your object; completely obscured by the light; it's shape contours the volume)
5. Reflected Light (light is also interacting with the surface your object is resting on or near, so reflected light is the light that is bouncing off the surface and reflected on your object; generally happens on the underside of the object; also contours the volume)
6. Cast Shadow (an object is obscuring the light from the surface, or perhaps another object; cast shadows resemble the shape of the object casting the shadow; cast shadows vary in intensity and length)

Value
There are two basic ways to define a form, by line or by value. Contour line is an excellent way to communicate the volume and details of your subject, and has been our method for drawing three dimensional forms thus far. However, we will begin to explore value and how to effectively communicate with it.

Value indicates the inherent lightness or darkness of forms, it models forms, it gives them a sense of volume, it creates a sense of depth, and shows the effect of light falling on forms. To use value in a drawing, it is necessary to carefully observe all of the nuances, all of the subtle shifts and relationships in value that are present in your subject. Hard contour lines vanish and are replaced with lost and found edges and contrasts between background and subject.

To begin this careful observation and depiction of values and their relationships, we will be constructing a value scale, also known as a gray scale. A value scale is a panel of swatches that begin with the white of the paper and progress through shades of gray to black at the end. Emphasis will be placed on subtle, yet distinct shifts in value as your scale progresses.

Line Quality
As discussed in class, line can be a powerful tool in describing your subject. Line is able to change, to vary, and working with intention in the line will allow you to emphasize materiality, to show the rigidity or softness in a form, indicate direction and movement, to show volume, and contribute to the mood of the drawing.