Difference between revisions of "The visual language/ART101/Value or tone"
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| − | This same technique brings to life what begins as a simple line drawing of a young man’s head in Michelangelo’s [http://www. | + | This same technique brings to life what begins as a simple line drawing of a young man’s head in Michelangelo’s [http://www.michelangelo-gallery.com/head-of-a-youth-and-a-right-hand.aspx ''Head of a Youth and a Right Hand''] from 1508. Shading is created with line (refer to our discussion of [[The_visual_language/Line|line]] earlier in this unit) or tones created with a pencil. Artists vary the tones by the amount of resistance they use between the pencil and the paper they’re drawing on. A drawing pencil’s leads vary in hardness, each one giving a different tone than another. Washes of ink or color create values determined by the amount of water the medium is dissolved into. |
[[Image:Caravaggio_-_Giuditta_che_taglia_la_testa_a_Oloferne_(1598-1599).jpg|thumb|right|450px|Caravaggio, ''Guiditta Decapitates Oloferne'', 1598, oil on canvas. National Gallery of Italian Art, Rome ]]The use of '''high contrast''', placing lighter areas of value against much darker ones, creates a dramatic effect, while '''low contrast''' gives more subtle results. These differences in effect are evident in ''Guiditta Decapitates Oloferne'' by the Italian painter Caravaggio, and Robert Adams’ photograph [http://www.masters-of-photography.com/A/adamsr/adamsr_newworld2_full.html ''Untitled, Denver''] from 1970-74. Caravaggio uses a high contrast palette to an already dramatic scene to increase the visual tension for the viewer, while Adams deliberately makes use of low contrast to underscore the drabness of the landscape surrounding the figure on the bicycle.{{clear}} | [[Image:Caravaggio_-_Giuditta_che_taglia_la_testa_a_Oloferne_(1598-1599).jpg|thumb|right|450px|Caravaggio, ''Guiditta Decapitates Oloferne'', 1598, oil on canvas. National Gallery of Italian Art, Rome ]]The use of '''high contrast''', placing lighter areas of value against much darker ones, creates a dramatic effect, while '''low contrast''' gives more subtle results. These differences in effect are evident in ''Guiditta Decapitates Oloferne'' by the Italian painter Caravaggio, and Robert Adams’ photograph [http://www.masters-of-photography.com/A/adamsr/adamsr_newworld2_full.html ''Untitled, Denver''] from 1970-74. Caravaggio uses a high contrast palette to an already dramatic scene to increase the visual tension for the viewer, while Adams deliberately makes use of low contrast to underscore the drabness of the landscape surrounding the figure on the bicycle.{{clear}} | ||
Revision as of 20:45, 9 February 2017
In two dimensions, the use of value gives a shape the illusion of mass and lends an entire composition a sense of light and shadow. The two examples below show the effect value has on changing a shape to a form.
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This same technique brings to life what begins as a simple line drawing of a young man’s head in Michelangelo’s Head of a Youth and a Right Hand from 1508. Shading is created with line (refer to our discussion of line earlier in this unit) or tones created with a pencil. Artists vary the tones by the amount of resistance they use between the pencil and the paper they’re drawing on. A drawing pencil’s leads vary in hardness, each one giving a different tone than another. Washes of ink or color create values determined by the amount of water the medium is dissolved into.
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