2. Value “The degree of lightness or darkness in a particular shade of gray or color” Used to show contrast and light/shadow

3. Value Lines do not exist in the natural world: Lines are how our brain translates movement and changes between values

4. Value to Show Space: Negative Space Negative space is the space around and in between the subject More complete understanding of the proportions and positive space of the object

6. M.C. Escher Sky and Water I Woodcut 1938

7. M.C. Escher: Tessellations

8. Values High Values: Light Low Values: Dark

9. Pencils: H & B H = Hard (Light) B = Black (Bold, dark, Soft)

10. Pencils: H & B 8H = Lightest 4H = Lighter H = Light HB = Neutral B = Dark 4B = Darker 8B = Darkest B = Bold (Dark, Soft)

11. Charcoal Vine & Willow Charcoal Lighter Easily manipulated & erased Compressed Charcoal Darker: Used for darkest darks Difficult to manipulate & erase More permanent B = Bold (Dark, Soft) Blenders Used instead of your hands to blend charcoal for smoother value transitions

12. Value and Light Light Source: Direction where light is coming from Highlights: The brightest areas where the light hits the object directly (High values) Midtones: The areas that receive an amount of light between the highlights and shadows (Middle values)

13. Value and Light: Areas of Value Shadows: Areas on object that receive the least amount of light (Low values), on the opposite side of the light source Cast Shadow: Dark area on surface where light is blocked by object (Low values) Reflected Light: Where light reflects from surface onto object

14. Drawing Value -Identify and focus on areas of value (squint your eyes to find them) -Focus on the values of different planes (flat surfaces) -Avoid contour lines -Use at least 7 different values (more are better) -Achieved with different techniques (including cross- hatching, blending, etc.)

17. Hatching and Cross-Hatching: Using line to create form and value. (This is also part of the elements of shape, form, value, and texture)

21. Value & Contrast Values are one way give an image more variety and contrast Variety & Contrast makes an image more dynamic, interesting, and distinguishable Lack of variety and contrast is boring, dull, monotonous

23. Robert Longo American Painter & Sculptor: Born 1953 www.robertlongo.com “Intimate Immensity” 2008

24. Robert Longo Series: “Men in the Cities,” 1979, Charcoal & Graphite “Untitled” 1980

25. Robert Longo Series: “Men in the Cities,” 1979 “Men Trapped in Ice” 1980

26. Robert Longo Series: “Men in the Cities,” 1979, Charcoal & Graphite “Untitled” 1981 - 1987

27. Robert Longo Series: “Men in the Cities,” 1979 “ “Untitled (Frank and Glenn Fighting)” 1981

28. Baroque Art Beginning 1600 in Rome, Italy High Value Contrast Exaggerated motion, clear & easily interpreted detail Drama, tension, & magnificence: idealization & splendor “The Entombment of Christ” Caravaggio, 1602-1603

29. Caravaggio, Rembrandt, Vermeer Dutch Painter & Etcher 1606 – 1669 Portraits & Bible Illustrations Italian Painter 1571 – 1610 Realistic physical & emotional human portrayal, graphic Bible Illustrations Dutch Painter 1632 – 1675 Domestic interior scenes: Middle class life

30. “The Calling of Saint Matthew” Caravaggio, 1599-1600, Oil

31. Dutch Golden Age -1600s, during & after Eighty Years War (1568-1648) for Dutch Independence -New Dutch Republic was prolific and prosperous in European trade, science, and art -Baroque style, but less idealized & magnificent: more realism “The Milkmaid” Vermeer, 1658-1660 Oil

32. “The Nightwatch” Rembrandt, 1642, Oil

33. “The Girl with the Pearl Earring” Vermeer, 1665, Oil

34. Value Study Guide Please review the following terms, techniques, concepts, and artists:

35. Negative Space Value: -High and Low -vs. Line -Contrast -How to Draw Value -Areas of Value Drawing Pencils: H & B Charcoal: Vine, Willow, Compressed Baroque Art Dutch Golden Age Artists: -Traditional: Caravaggio, Rembrandt, Vermeer, Leonardo da Vinci -Contemporary: M.C. Escher, Robert Longo, Dorothea Lange Value to show Form and Space

36. Mona Lisa Leonardo da Vinci 1503-1505 Oil on panel Italian Renaissance

37. Baroque Art Beginning 1600 in Rome, Italy (After the Italian Renaissance) High Value Contrast Exaggerated motion, clear & easily interpreted detail Drama, tension, & magnificence: idealization & splendor “The Entombment of Christ” Caravaggio, 1602-1603

38. Dutch Golden Age (About the same time as Baroque Art) -1600s, during & after Eighty Years War (1568-1648) for Dutch Independence -New Dutch Republic was prolific and prosperous in European trade, science, and art -Baroque style, but less idealized & magnificent: more realism “The Milkmaid” Vermeer, 1658-1660 Oil

39. Caravaggio, Rembrandt, Vermeer Dutch Painter & Etcher 1606 – 1669 Portraits & Bible Illustrations, Softer light Italian Painter 1571 – 1610 Realistic physical & emotional human portrayal, graphic Bible Illustrations Dutch Painter 1632 – 1675 Domestic interior scenes: Middle class life, realism

40. The Calling of Saint Matthew Caravaggio, 1599-1600, Oil

41. The Inspiration of Saint Matthew Caravaggio, 1601, Oil The Entombment of Christ Caravaggio, 1602-1603

42. The Nightwatch, Rembrandt, 1642, Oil

43. Self-portrait, Rembrandt, 1629, Oil Self-portrait, Rembrandt, 1630, Oil

44. The Girl with the Pearl Earring Vermeer, 1665, Oil

45. The Milkmaid Vermeer, 1658-1660 Oil

46. Sky and Water I M.C. Escher 1938 Woodcut

47. Robert Longo American Painter & Sculptor: Born 1953 www.robertlongo.com Intimate Immensity 2008 Charcoal & Graphite

48. Robert Longo Series: “Men in the Cities,” 1979, Charcoal & Graphite Untitled 1980

49. Robert Longo Series: “Men in the Cities,” 1979 Men Trapped in Ice, 1980

50. Robert Longo Series: “Men in the Cities,” 1979, Charcoal & Graphite Untitled 1981 - 1987

51. Robert Longo Series: “Men in the Cities,” 1979 “ Untitled (Frank and Glenn Fighting), 1981

52. Migrant Mother Dorothea Lange 1936 Film Photograph