Value and Color This presentation was created following the Fair Use Guidelines for Educational Multimedia. Certain materials are included under the Fair Use exemption of the U.S. Copyright Law. Further use of these materials and this presentation is restricted.

Value An element of design concerned with the degree of lightness of colors. Darker colors are lower in value

Shading Using lighter and darker values to make something look 3-D

The Illusion of Value We usually think of ink drawing in terms of line, because of the solid black line created with pen-and-ink, we imagine that we can't create tonal value. While this might be, strictly speaking, true - there are many ways that we can create the illusion of value. Hatching The most basic method of creating value in ink drawing is linear hatching. Fine parallel lines fill an area, so that from just a slight distance, we have the illusion of value. The closer the lines are, the less white paper shows, and the darker the value appears. Heavier line weight (pressing more firmly or using a bigger nib) also gives a darker appearance. Crosshatching Crosshatching uses layers of hatching placed at an angle. Usually, the first layer would be vertical, the next horizontal, the next at forty-five degrees, and so on. This methodical approach can look a little mechanical, so artists often use variation in direction to add interest. Contour Hatching Hatching placed at a slight angle creates a moire-like effect, the diamond-shaped fragments of white paper enlivening the denser areas of value. This technique is often used in figure drawing, with the direction of line helping to suggest the cross-contours of the body. Hatching which follows a contour can also help to make objects appear more three-dimensional. Scumbling and Random Hatching Scumbling, often called the 'brillo pad' technique, uses layers of small calligraphic, scribbled marks to build up value and texture. Varying the direction and shape adds more interest than a simple circular scribble. Random hatching uses layers of short, straight marks. Various textures result depending on whether these short hatches are applied vertically, at right angles, following a contour or at random angles. Stippling Stippling uses tiny dots to create value. The closer together the dots, the darker the tone. Larger dots create a denser tonal value more quickly, but can look coarse.

Chiaroscuro From the Italian meaning “light-dark.” The use of value contrasts to represent the effects of light and shadow.

Spectrum Bands of colored light created when white light is passed through a prism. Also, the full range of colors.

Hue The property of color that distinguishes one gradation from another and gives it its name

Primary colors The three basic colors—red, yellow, and blue—from which it is possible to mix all other colors. The primaries cannot be produced by mixing pigments Secondary colors Colors that result from a mixture of two primary colors. On the twelve-color wheel, orange, green, and violet.

Intermediate colors Colors produced by mixing a primary color and the adjacent secondary color on the color wheel (Example- yellow and green for yellow- green). They are also made by mixing unequal amounts of two primaries. (Example- adding more yellow to a combination of yellow and blue produces yellow-green.)

Complimentary colors Two colors directly opposite each other on the color wheel, in extreme contrast with each other Monochromatic One color – including its values – light to dark.

Intensity The degree of purity, saturation, or strength of a color. High-intensity colors are bright; low- intensity colors are dull.

Color Harmonies Combinations of colors that are considered satisfying, or that produce certain effects. Warm colors Those hues in which yellow and red are dominant; located on the left side of the color wheel. Cool colors Those colors in which blue is dominant; found on the right side of the color wheel.

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