TONE & TEXTURE

TONE & TEXTURE• WHILE LINES ARE ESSENTIAL TO THE TASK OF DELINEATING

CONTOUR AND SHAPE;

• WE RELY ON THE RENDERING OF TONAL VALUES, IN ORDER TO ACCENTUATE SHAPE, LIGHT, MASS AND SPACE.

TONE & TEXTURE

• THROUGH A COMBINATION OF LINES AND TONAL VALUES, WE CREATE THE TACTILE SENSATION AND APPEARANCE WE CALL ‘TEXTURE’

TONAL VALUE

• THE PATTERNS OF LIGHT AND DARK IS ESSENTIAL TO OUR PERCEPTION OF OBJECTS:

• DARKER AREAS OCCUR WHERE THERE IS AN ABSENCE OF LIGHT;

• LIGHTER AREAS OCCUR WITH THE

REFLECTION OF RADIANT ENERGY

ONTO ILLUMINATED SURFACES

TONAL VALUE• CREATING TONAL VALUES: USE TRADITIONAL MEDIA OF

PENCIL AND PEN/INK TO MAKE DARK MARKS ON A LIGHT SURFACE

• THERE ARE (4) BASIC TECHNIQUES FOR CREATING TONAL VALUES:

(1) HATCHING (3) SCRIBBLING

(2) CROSSHATCHING (4) STIPPLING

HATCHING• CONSISTS OF A SERIES OF PARALLEL LINES,

• WHEN SPACED CLOSELY, THE LINES LOSE THEIR INDIVIDUALITY AND MERGE TO FORM A TONAL VALUE

• THEREFORE, WE RELY PRIMARILY ON THE

SPACING AND DENSITY OF LINES TO CONTROL

THE LIGHTNESS OR DARKNESS OF A VALUE

HATCHING

• MAINTAINING THE DIAGONAL DIRECTION OF THE

STROKES IS KEY, IN ORDER TO AVOID CONFUSION WITH

THE UNDERLYING DRAWING AND UNIFIES THE VARIOUS

TONAL AREAS OF A DRAWING COMPOSITION

• USE CONSTRUCTION LINES TO DESCRIBE

CONTOUR AND SHAPE IN A PURE-TONE

DRAWING

CROSSHATCHING

• UTILIZES 2 OR MORE SERIES OF PARALLEL LINES

TO CREATE TONAL VALUES

• THE SIMPLEST CROSSHATCHING CONSISTS OF 2 PERPENDICULAR SETS OF PARALLEL LINES

• USE 3 OR MORE LAYERS PROVIDE A GREATER RANGE OF TONAL VALUES AND SURFACE TEXTURES

CROSSHATCHING• WE OFTEN COMBINE HATCHING AND

CROSSHATCHING INTO A SINGLE TECHNIQUE

• WHILE SIMPLE HATCHING CREATES THE LIGHTER RANGE OF VALUES IN A DRAWING, CROSSHATCHING RENDERS THE DARKER RANGE

SCRIBBLING

• IS A FREEHANDED SHADING TECHNIQUE THAT

INVOLVES DRAWING A NETWORK OF RANDOM, MULTIDIRECTIONAL LINES

• BY MAINTAINING A DOMINANT DIRECTION, WE PRODUCE A GRAIN THAT UNIFIES THE VARIOUS AREAS AND SHADES OF VALUE

SCRIBBLING• THE STROKES MAY BE BROKEN OR CONTINUOUS,

STRAIGHT OR CURVILINEAR, JAGGED OR SOFTLY UNDULATING

• AS WITH HATCHING, WE MUST PAY ATTENTION TO BOTH SCALE AND DENSITY OF THE STROKES, AND BE AWARE OF THE QUALITIES OF SURFACE, TEXTURE, PATTERN, & MATERIAL THEY CONVEY

STIPPLING

• A SHADING TECHNIQUE BY MEANS OF VERY FINE DOTS. THE BEST RESULTS OCCUR WHEN USING A FINE-TIPPED INK PEN ON A SMOOTH DRAWING SURFACE

• APPLYING STIPPLING IS A SLOW & TIME-CONSUMING PROCEDURE THAT REQUIRES PATIENCE & CARE IN CONTROLLING THE SIZE & SPACING OF THE DOTS

STIPPLING

• SINCE THERE ARE NO CONSTRUCTION LINES TO DESCRIBE CONTOUR AND SHAPE IN A PURE-TONE DRAWING;

• WE RELY ON A SERIES OF DOTS TO PROFILE SPATIAL EDGES AND DEFINE THE CONTOURS OF FORMS.

• USE TIGHTLY SPACED DOTS TO DEFINE SHARP

EDGES, AND A LOOSER SPACING OF DOTS TO

IMPLY SOFTER, MORE ROUNDED CONTOURS.

VALUE SCALE• WHITE REPRESENTS THE LIGHTEST POSSIBLE VALUE AND

BLACK THE DARKEST VALUE

• IN BETWEEN EXISTS A “RANGE OF GRAYS”

• THIS RANGE IS REPRESENTED (BELOW) BY A GRAY VALUE OF (9) GRADATIONS FROM WHITE TO BLACK

MODELING• REFERS TO THE TECHNIQUE OF RENDERING THE ILLUSION OF

VOLUME AND DEPTH (3D) ON A 2-DIMENSIONAL SURFACE BY MEANS OF SHADING WITH TONAL VALUES

– DARK AREAS CAN APPEAR TO RECEDE INTO THE DEPTH OF THE DRAWING SURFACE

– LIGHT AREAS CAN EMERGE FROM A DARK BACKGROUND LIKE MOUNDS RISING FROM THE EARTH

MODELING• EDGES HELPS US RECOGNIZE SHAPE;

• WE LOOK TO EDGES TO DISCOVER THE SURFACE CONFIGURATION OF A 3-DIMENSIONAL FORM

• THERE ARE MAINLY (2) TYPES OF EDGES: HARD AND SOFT

MODELING• HARD EDGES DELINEATE SHARP BREAKS IN FORM OR

DESCRIBE CONTOURS THAT ARE SEPARATED FROM THE BACKGROUND

MODELING• SOFT EDGES DESCRIBE VAGUE BACKGROUND SHAPES,

GENTLY CURVING SURFACES AND ROUNDED FORMS, AND AREAS OF LOW CONTRAST

MODELING• WE CREATE SOFT EDGES WITH A GRADUAL CHANGE IN

TONAL VALUE OR DIFFUSE TONAL CONTRAST

MODELING• WE CAN CREATE ANY SHAPE AND FORM USING BOTH HARD

AND SOFT EDGES

CONVEYING LIGHT• LIGHT IS THE RADIANT ENERGY THAT ILLUMINATES OUR

WORLD AND ENABLES US TO SEE 3-DIMENSIONAL FORMS IN SPACE

• WE DO NOT ACTUALLY SEE THE LIGHT BUT RATHER THE EFFECTS OF LIGHT

CONVEYING LIGHT• TONAL VALUE IS THE GRAPHIC EQUIVALENT OF SHADE AND

SHADOW;

• AND CAN ONLY INDICATE LIGHT BY THE DESCRIBING ITS ABSENCE

CONVEYING LIGHT• WHEN LIGHT STRIKES AN OBJECT, IT CREATES A LIGHT SIDE, A

SHADED SIDE, AND A CAST SHADOW

CONVEYING LIGHT• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION

OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID, THE SPHERE, THE CONE, AND THE CYLINDER

• WE MUST UNDERSTAND HOW LIGHT ILLUMINATES EACH OF THE FUNDAMENTAL SOLIDS, AND ITS LIGHT-DARK PATTERNS, IN ORDER TO RENDER THE EFFECTS OF LIGHT ON MORE COMPLICATED SHAPES AND FORMS

CONVEYING LIGHT• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION

OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID, THE SPHERE, THE CONE, AND THE CYLINDER

LIGHT VALUES OCCUR ON ANY SURFACE TURNED TOWARD THE LIGHT SOURCE

CONVEYING LIGHT• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION

OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID, THE SPHERE, THE CONE, AND THE CYLINDER

TONAL VALUES SHIFT AS A SURFACE TURNS AWAY FROM THE LIGHT SOURCE, WITH INTERMEDIATE GRAY VALUES

CONVEYING LIGHT

HIGHLIGHTS APPEAR AS LUMINOUS SPOTS ON SMOOTH SURFACES

SHADE REFERS TO THE DARK VALUES OF SURFACES AWAY FROM THE LIGHT SOURCE

AREAS OF REFLECTED LIGHT LIGHTEN THE TONAL VALUE OF A SHADED SURFACE

SHADOWS ARE THE DARK VALUES CAST BY AN OBJECT UPON A SURFACE

LIGHT, SHADE & SHADOW• THE CLARITY AND TONAL VALUE OF SHADED SURFACES AND

CAST SHADOWS PROVIDE CLUES TO THE QUALITY OF THE LIGHT SOURCE

BRILLIANT LIGHT PRODUCES STRONG LIGHT-DARK CONTRASTS WITH SHARPLY DEFINED SHADOWS

DIFFUSED LIGHT CREATES LESS VALUE CONTRAST BETWEEN LIT SURFACES AND SHADOWS

LIGHT, SHADE & SHADOW• CAST SHADOWS DISCLOSE THE RELATIVE POSITION OF

OBJECTS IN SPACE

CAST SHADOWS ANCHOR AN OBJECT TO THE SURFACE ON WHICH ITS SITS

LIGHT, SHADE & SHADOW• CAST SHADOWS DISCLOSE THE RELATIVE POSITION OF

OBJECTS IN SPACE

EVEN WHEN FORMS ARE HIDDEN FROM VIEW, THE SHADOWS THEY CAST CAN REVEAL THEIR SHAPE

LIGHT, SHADE & SHADOW• SHADED SURFACES ARE OFTEN LIGHTER IN VALUE THAN

SHADOWS

CAST SHADOWS ARE DARKER WHERE THEY MEET A SURFACE IN SHADE, BECOMING LIGHTER TOWARD ITS OUTER EDGES

DEFINE THE OUTER EDGES OF SHADOWS WITH A CONTRAST IN VALUE, NEVER WITH A DRAWN LINE

LIGHT, SHADE & SHADOW• AREAS OF SHADE AND SHADOW ARE ALMOST NEVER

UNIFORM IN VALUE !!!

MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY

TO BEGIN MODELING

WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES

MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY

TO BEGIN MODELING

WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES

MAPPING INVOLVES BREAKING DOWN ALL AREAS OF LIGHT, SHADE AND SHADOW THAT WE SEE ON A SUBJECT OR IN A SCENE INTO DEFINITE SHAPES

MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY

TO BEGIN MODELING

WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES

MAPPING INVOLVES BREAKING DOWN ALL AREAS OF LIGHT, SHADE AND SHADOW THAT WE SEE ON A SUBJECT OR IN A SCENE INTO DEFINITE SHAPES

DECISIVENESS IS NECESSARY

MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY

TO BEGIN MODELING

WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES

MAPPING INVOLVES BREAKING DOWN ALL AREAS OF LIGHT, SHADE AND SHADOW THAT WE SEE ON A SUBJECT OR IN A SCENE INTO DEFINITE SHAPES

DECISIVENESS IS NECESSARY

USE CONSTRUCTION LINES

MAPPING VALUES• MAPPING REQUIRES REDUCING THE MANY TONAL

VARIATIONS THAT WE SEE INTO JUST A FEW

WE BEGIN BY SORTING THE RANGE OF TONAL VALUES INTO TWO GROUPS: LIGHT AND DARK; OR THREE GROUPS: LIGHT, MEDIUM AND DARK

TEXTURE• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A

TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE

WE USE THE TERM TEXTURE MOST OFTEN TO DESCRIBE THE RELATIVE SMOOTHNESS OR ROUGHNESS OF A SURFACE

TEXTURE• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A

TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE

WE USE THE TERM TEXTURE MOST OFTEN TO DESCRIBE THE RELATIVE SMOOTHNESS OR ROUGHNESS OF A SURFACE

IT CAN ALSO DESCRIBE THE CHARACTERISTIC SURFACE QUALITIES OF FAMILIAR MATERIALS: STONE, WOOD GRAIN, WEAVE OF A FABRIC

TEXTURE• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A

TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE

OUR SENSES OF SIGHT AND TOUCH ARE CLOSELY INTERTWINED.

AS OUR EYES READ THE VISUAL TEXTURE OF A SURFACE, WE OFTEN RESPOND TO ITS APPARENT TACTILE QUALITY WITHOUT ACTUALLY TOUCHING IT.

TEXTURE• THE SCALE OF THE STROKES OR DOTS WE USE TO CREATE A

TONAL VALUE, RELATIVE TO THE SIZE OF THE TONED AREA AND THE DRAWING COMPOSITION, INHERENTLY CONVEYS THE VISUAL TEXTURE OF A SURFACE

TEXTURE• VISUAL TEXTURE CAN ALSO RESULT FROM THE INTERACTION

BETWEEN SMOOTH AND ROUCH DRAWING SURFACE

TEXTURE• CONTRAST, SCALE, DISTANCE, AND LIGHT ARE IMPORTANT

MODIFYING FACTORS IN OUR PERCEPTION OF TEXTURE AND THE SURFACES THEY ARTICULATE

TEXTURE• CONTRAST INFLUENCES HOW STRONG OR SUBTLE A

TEXTURE WILL APPEAR TO BE:

- A TEXTURE SEEN AGAINST A COARSE BACKGROUND WILL APPEAR TO BE FINER AND SMALLER IN SCALE

- WHEN SEEN AGAINST A UNIFORMLY SMOOTH BACKGROUND, THE TEXTURE WILL APPEAR MORE OBVIOUS.

COARSE BACKGROUNDSMOOTH BACKGROUND

TEXTURE• THE RELATIVE SCALE OF A DRAWING DETERMINES WHETER

WE READ A TEXTURE AS BLADES OF GRASS, A FIELD OF GRAIN, OR A PATCHWORK QUILT OF FIELDS

TEXTURE• LIGHT INFLUENCES OUR PERCEPTION OF TEXTURE:

-SMOOTH SHINY SURFACES REFLECT LIGHT BRILLIANTLY AND APPEAR SHARPLY IN FOCUS

-SURFACES HAVING A MATTE TEXTURE ABSORB AND DIFFUSE LIGHT UNEVENLY, THEREFORE APPEAR LESS BRIGHT