VALUE

Pontormo

Value is the relationships of lights and darks within an artwork.

Key terms:

Simultaneous Contrast- The area of darkest dark adjacent to the lightest light, thereby enhancing the power of the other. This area will draw the eye first and have the most force in an artwork visually.

Local Value- The actual overall value of the object (for example blue jeans are medium value, and a white cup is high value) Corresponding values within the object will relate to this (shadows will be darker in blue jeans versus the shadows in a white cup)

Halftone- The intermediary tones or middle values, not the highlights or darkest shadows. Think Light Halftones and Dark Halftones.

Halation- An effect of placing an opposite value in the background (negative space) adjacent to that value area of the subject (positive space).

Sfumato- A Leonardo Da Vinci term used to describe a blending of values in transition. The word has connotations of "Smoky" in Italian. "Without lines or borders in the maner of smoke, or beyond the focus plane"- Da Vinci

Chiaroscuro- A term broadly understood to describe the strong contrast in illumination between light and dark in an artwork. In Italian it translates to "light-dark". It also has a reference to light IN dark.

Basic example of light falling across a form (light comes from the upper right). Consider the values from right to left: Highlight, Light Halftone, Dark Halftone, Shadow, Reflected Light, Shadow.

Seurat

Seurat

Seurat

R. Tweedy

Kathe Kollwitz

Kathe Kollwitz

Lopez

Robert Longo

Robert Longo

Student Example

Student Example

SHAPE

In order to begin drawing more complex subjects, it is necessary to 'break down' the multiple shapes within form. It is this unique combination of multiple 2- Dimensional shapes that begin to approach an understanding of 3- Dimensional form. Think the relation ship of a square (1 shape) to a cube (combination of a square and several rhombi.) This applies to to all objects whether it is a toy car or a figure. A good way to think about this is as drawing the 'skeleton' of an object- what shapes create the planes? what forms interlock for complexity? what are the major basic forms I see within its structure? It is important to move away from solely focusing on an outline or perimeter line (which stresses flatness) and start building outward with shapes (which implies volume.)

Below are some student examples that show a good understanding of the interior form of the subject.

COMPOSITION

Composition is the arrangement of elements within the rectangle. At its most basic, the rectangle must be considered in a vertical format (a statement) or a horizontal format (a story.) We can begin by thinking of the square/ rectangle as having certain inherent energy zones- the center and four corners. Deciding how these are activated is the function of composition. It is created to move the viewer in and around the image, create interesting balance and harmony. When beginning to layout a compositional idea, it is important to consider the big shapes that make up the internal skeleton of the drawing (both positive and negative space.) Some ideas to consider:

Distribution- filled vs. un-filled

Balance- interesting tension of differences not 50/ 50 equality

Diagonals- lines of of movement, fast

Verticals or Horizontals- lines of stasis, slow

Below we will see examples of how artists use composition.

The Raft Of Medusa- Gericault. The composition has strong diagonals, pointers, and geometric shapes (specifically multiple triangles.) On the right, the grouping of figures form a triangle shape mirrored by the rigging and sail of the left. On the apex of the right triangle we find the focus or destination of the composition (further emphasized with the figure having the high value contrast.) Beyond the architectural layout, notice the organization of lights and darks, how these move you through the composition.

The Assumption of the Blessed Virgin- Titian. This composition reinforces the concept of the painting, The Virgin Mary's ascension to Heaven. To assist the story, Titian used a specific red to sequence the viewers gaze. Follow the red on robes of the men at the bottom, as it appears again higher in the Virgin's robe, as it reappears in the robes of God above.

The Rape of the Daughter of Leucippus by Peter Paule Rubens. In this example we can see the strong vertical lines (parallels) in the arms and horses legs. We see diagonals running through the hands, body, horse's feet in both directions. Finally there is the arc of movement or swing lines, follow the arc as it traces from the figure's head (angel) at left as it comes around to the head of the lower women at right. All the heads of the figures rest along this arc.

Another classic example of Rubens using diagonals, pointers, and light dark orchestration. All the diagonal spears point to the focal area (lion's bite) it is almost a wheel hub with spooks. Notice how certain edges of form rest on compositional diagonals.

A classic example of a zig zag progression through the artwork in this case a print byHiroshage.

A Degas pastel in which the clear use of diagonals to leads us around the drawing through one dancer to another.

Here we see Degas using repetition of shape. Each dancer makes a circle-ish (maybe a hexagon) shape with their arms, legs, skirts and even the negative space between two dancers.

Degas was heavily influenced by prints from the the far East, and in this example displays a unique use of balance. The composition is heavily loaded on the left side with and equally interesting weight of emptiness on the right. He further enhances the composition with diagonals and scale of shape (horse and rider.)

Jose Clemente Orozco's study for his Prometheus mural. Here we can see the skeleton of the drawing and more importantly how he organizes his composition. His goal is to make sure the eye visits all portions of the design and aligns certain elements to direct those movements. He sets this up first by laying out diagonals connecting different edges of his work surface. At its basic he draws a line between opposite corners and through the half way points of both vertical and horizontal edges (this is sometimes referred to as the British Flag layout). He goes much further and subdivides. Eventually he begins his drawing and uses these lines as guidelines as to where to place elements, rest limbs, etc. Below is the finished mural.

Here is an example of a Diego Rivera mural in which we can see symmetry worked into the composition. Each side reflects basic positioning and shapes of the other creating a parallel.

A silhouette by Kara Walker again showing the symmetrical approach.

Below is an example of Marcel Zama, a more contemporary approach to composition, presenting and almost rococo setting (an overwhelming amount of elements and detail.)

He seems to focus more on the three vertical elements (Flags and two trees) and allow a slight dance of diagonals in the flying birds. Notice that the composition does not extend beyond the edge. It is completely self contained, which is totally opposite to the earlier examples of the Old Masters which presented a 'window' onto a scene.

LINE

The Moving Dot..... The basest form in drawing is the line. Line quality- the variety of weight and thickness of the mark-

-Pressure

-Speed

-Motion/ Direction

-Accumulations/ Interconnections

Line can be used to symbolize:

-Outer Edges

-Plane meets Plane

-Color meets Color

-Tone meets Tone

-Explain Shape

-Contour

-Guidelines

In the example by Alberto Giacometti, a searching

line is evident. Giacometti creates guidelines to locate his subject in space, each time refining or re-drawing lines (accumulation). There is also an apparent speed to his mark making, similar to the quick movements of an eye tracing a subject, as he create relationships.

In the next example, a Self -Portrait by Leonardo DaVinci, line is used very deliberately to create shape and movement in the beard. Notice how these darker lines curve back and forth up to the area of interest- the feartures (eyes). Also note where he allows to line to disappear indicating space and planes receding.

In the leaf example of Ellsworth Kelly, line is used in its bearest form to show the outer edges of an object. Kelly, using a delicate minimal approach, uses a slightly darker line to indicate the front edge of the leaf and a lighter one for the further. Also notice the specificity of the line as it describes the contour shape of the leaf.

In the Van Gogh landscape example, the artists large vocabulary of mark is apparent. Van Gogh used a variety of mark for the all different aspects of his composition, some short, some long, some dark etc. Take note of the foreground field, here he employs cross- contour, undulating marks indicating the surface topography of the field.

In the torso example of Antonio Lopez Garcia, we can see how the artist used line to organize the portions, symetry, and contour. Notice how the line is heavier along the trunk yet dissapates as it moves to the legs and shoulders. It is this variation of line that allows a form to be made on a 2-D surface.

Here in the Student example, Cross- Contour is clearly conveyed in the Shell drawing. The lines seek to describe to surface bumps and depressions of the shell, through directional adjustments and thickness of line.

Student Example