1. + Tone, Value, & Texture

2. + What is tone vs. value? These terms are interchanged frequently and in drawing mean virtually the same thing. In painting however, tone has significant importance in using color and value. The important thing to understand about the use of the term “tone” is that it may carry a larger emotive connotation to it than simply using the term “value”.

3. + Tone & Color

4. + Tonal Values Tone is the quality of lightness and darkness. Value is the relative lightness and darkness. Color is defined by its hue, chroma and tonal value. Tonal value is the lightness and darkness of a color, and it's this value we have to acknowledge and constantly assess when making monochromatic and achromatic drawings. When describing an object as black, we are acknowledging both its "local color" (black) and also its local value (black is dark). Recognize that within the “blackness” there may be differing amounts of absorbed and reflected light that require us to draw changes in value. How we apply those changes will determine the tone. It is important to remember where these changes of value occur and how well the quality of your mark- making is crucial to the depiction of the object's character, form and context.

5. +

6. + Value Is the relative light and dark in a composition or object(s) Value can be achieve by either modeling or rendering the objects of a composition Modeling value requires that the artist use value to achieve a sense of mass and volume creating three-dimensional space. It is achieved by Rendering value is translating the light and dark and degrees of light and dark that the artist actually observes

7. + Barbara Pence, 2010 Rendered Modeled

8. + Achieving tone & value

9. + Color & Value Jonathan Green, 1999, oil on canvas

10. + Additive & Subtractive Drawing Additive and subtractive drawings refer to two techniques involving how medium is applied to the surface of the paper or substrate (the type of surface in your artwork). Additive is what we are most familiar with. This is adding the medium to create the composition – adding value, mass, mark- making, with any type of medium. Subtractive is used in value and tonal drawings. Usually the the surface of the paper is toned with darker mid-tones of value and that tone is lifted to indicate lighter values and highlights. Many times there is a combination of these two methods to create dynamic compositions. This could include adding details of light and dark to a subtractive drawing and creating toned flat surfaces in an additive drawing to create, for example, movement.

11. + Subtractive Drawings

12. + Texture Texture is the surface character of a material than can be experienced through touch or the illusion of touch. Texture can be produced by natural forces or though the an artist’s manipulation of art elements. The nature of texture helps to inform us about our environment. Descriptive words help to define the nature of objects, i.e. rough, hard, soft, smooth, broken, etc. The are four (4) basic types of texture: actual, simulated (implied), abstract, and invented.

13. + Actual Texture Historically and typically we think of actual texture when we discuss three- dimensional art forms. However actual texture can refer to the use of the medium, or the use of mixed media to create an affect or emotion in two- dimensional artwork as well. Park San-Bo, Ecriture no. 051128, 2009

14. + Simulated or Implied Texture Vija Celmins, Untitled (Big Sea #2), 1969, graphite on acrylic ground on paper, 33 1/2 x 44 in. Simulated texture is what we are most familiar with when creating two- dimensional artwork. A surface character is created that looks real but, in fact, is not. Having an understanding of tone & value can help an artist achieve this effect.

15. + Observational Drawings

16. + More of where we want to go…..

17. + Abstract Texture This is a modification of the original texture to suit the aesthetic needs of the artist making the art. Textures are often use to accent or diminish areas of the composition.

18. + Invented Texture These are textures created without any reference to reality. They often function as a visual reference point for the viewer but not an intention of the artist. They are entirely non- objective. Cherith Lundin

19. + Sketchbook Explorations

20. +

21. +