Categories of Values
• Tint is adding white to color paint to create lighter values such as light blue or pink.
• Shade is adding black to paint to create dark values such as dark blue or dark red.
• High-Key is where the picture is all light values.
• Low-Key is where the picture is all dark values.
• Value Contrast is where light values are placed next to dark values to create contrast or strong differences.
• Value Scale is a scale that shows the gradual change in value from its lightest value, white to its darkest value black.
A value pattern is the key to creating a pleasing visual path for the eye to follow as it views a composition. The value pattern is the careful choice of arrangement of all the values of a piece of artwork by an artist in order to guide the eye and unify all the objects/figures in the piece.
When organizing your composition it is important that you spend some time before beginning to think about the arrangement of the lights, darks and mid-tones in your composition. This planning stage will give you a better chance of making a focused and entertaining composition. To avoid having to rework you composition, it is important that we do not begin without some understanding of where we are going. It is much easier to change the value pattern than to change the piece once we are already in the midst of working. Most good artists do not overlook the planning stage and it is the fastest and most effective way to move past strictly replicating photographs.
Start with a drawn format box that has a shape and dimension that comes close to the actual paper you are using. A value pattern is not a drawing or a finished sketch. It is simply an organization of the lights, darks and mid-tones of the planned painting. The major shapes of the painting are put in but details are kept to a minimum. Look at the reference sketch, photograph, or nature scene and put all the values into only three categories. The lights will be everything that is the lightest values you are looking at, but they are not exclusively white objects. An objects local color does not matter in its' lightness or darkness. Depending on the mood, time of day or effect you are trying to create the lights can be any value as long as it is lighter than the mid-tones and darks. Normally the mid-tones are the values that fall in the middle of the value scale again remember that these will be relative to the desired effect or lightness or darkness of the source material. The darks are the darkest objects in the painting. For designing purposes, you should merge your values into only three ranges. This helps to clarify the value arrangement, and simplify the designing process. Once the painting begins the nuances of value will interpreted within the value pattern, but the goal is to keep the integrity of the pattern. At this point in the process color is not the major consideration, remember that each color has a complete range of value. Keep your concerns to the relative value of the major shapes and choose your colors later.
After you have made the value pattern you can look at it to see if it reads well and has a good design. Are the major shapes interesting? A good shape has a different dimension in length and width, has movement, has a variety of edges, is attached to the surrounding shapes in the composition and has a slight gradation of color or value from one edge to the next. Is the center of interest in a good location? Is the movement of the composition headed where you want the viewer to look? Does the space division complement your compositions intention? Are the value areas too equal in size, shape, and direction? Is the center of interest where most of the main activity of the composition is going to happen? Is the value arrangement appropriate for the mood, time of day or type lighting you are looking for? This type of analysis of the value pattern will give you the needed feedback for design modifications. If you need to make changes then go ahead. It is easy to make the changes now and not so easy once started.
Questions to get you started:
• How many value patterns can you make based on one scene? How does the value pattern affect the mood of the composition?
• Can you take a UFO and change the value pattern? Does this improve your composition?
• What happens if you reverse the values in your composition?
• Of your value patterns created, which is the most interesting? Why?
• How can you use value patterns in an abstract composition? Does this strengthen your abstract composition?
• Can you find value patterns in other’s compositions that you really like? Where are your eyes drawn to? Is this because of value changes?
• How does the percentage used of each value affect your composition? Do you prefer lighter or darker value patterns? Why?