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Value

Introduction

Everything we see has value. Value is the degree of lightness to darkness. Without value, there would be no definitive edges or distinction between observed areas. Artists use value to make an image understandable.

Pencil sketch depicting a ceramic jar and two bananas arranged on a flat surface. Shading and cross-hatching techniques emphasize texture and light direction, creating depth and contrast in the still life composition.
Graphite Still Life Drawing Example, Source: Vase and Bananas Still Life Drawing on PX Here, License: CC BY-NC-SA 3.0

Tonal values provide vital information about light and how drawn objects occupy space, and shading is the subtle distribution of values by which three-dimensionality and degrees of light and dark are art suggested in a drawing. With value, forms can be made to advance or recede in pictorial space. A value pattern is the overall organization relationship of light, mid-tone, and dark values in a work of art. Value patterns provide structure in a drawing and typically fall into three categories of high-contrast, high-key, and low-key. We will expand on these concepts throughout this chapter, but to start consider the drawing above. Notice how the lightest value is the white of the page and the darkest value is a dark gray, but not quite black, in the shadows. Since this drawing does not contain what is referred to as a full range of value (white to black), it can be categorized as closer to a high key value pattern. High key value patterns contain mostly light to mid-tone values and very few to no dark values.

White under bright light is the lightest possible value, while black in shadow produces the darkest possible value. Values shift depending on their location in a composition. Value relationships occur when one value is compared to another to determine if it is lighter or darker.

Black and white charcoal drawing of basic geometric shapes including a sphere, cube, cylinder, and cone arranged on a flat surface with strong light casting distinct shadows. The composition emphasizes shading and light contrast to create depth and three-dimensionality.
Charcoal Still Life Drawing Example, Source: Peter Alfred Hess via Flikr, License: CC BY-NC-SA 3.0

A value range is the difference between the lightest and darkest values in a work of art. For instance, if a drawing has white (the lightest value possible) and black (the darkest value possible), then it has a full range of values.

A black and white illustration of a hot air balloon floating above a body of water at night. The scene features a starry sky with a crescent moon, distant hills, and clouds reflecting on the water's surface.
High Contrast Example. Source: rawpixel. License: CC0 1.0

An essential ingredient for understanding value is intentionally applying contrast. Contrast means difference. In this chapter, we will specifically focus on value contrast, the difference between light and dark. Values with a significant difference between the lightest and darkest values, such as the image above, are referred to as high contrast drawings. For example, white and black. Whereas a narrow value range with very subtle differences between the lightest and darkest values is called a low contrast drawing. For example, a light gray and a medium gray.

A detailed black and white etching of a bison's head facing left, showcasing textured fur and prominent curved horns. The artwork emphasizes intricate line work to depict the animal's facial features and fur patterns, with handwritten text below the drawing.
Hatching Coarse Texture Buffalo Drawing Example. Johann Christian Reinhart, Buffalo Head Facing Left, from Die Zweite Thierfolge, 1799/1803. Etching on ivory laid paper.

Source: Art Institute of Chicago. License: CC0 1.0.

In addition to providing definition, value also develops surface texture. With value, artists expand their visual vocabulary to include characteristics that cannot be described by line alone. Value permits artists to show textures from the smooth sheen of a shiny polished surface to the roughness of a jagged rock. These distinctions are manipulated by artists with drawn pressure, a variety of materials, and tiny to expansive areas of light and dark across a surface. With the push and pull of light and dark, an artist can create distinct value patterns that display a variety of surface textures.

Value contrast has dramatic power! Strong contrasts of light and dark can create focal points in a composition. Focal points direct the viewer’s attention and help subdue backgrounds to create expansive space.

Typical art materials used to create value drawings include graphite, charcoal, ink, and erasers.

Light Logic

Black and white photograph of three geometric shapes: a sphere, a cylinder, and a cube, arranged on a flat surface with distinct shadows. The composition highlights light source direction and shading techniques on smooth and flat surfaces.
Single Light Source on Basic Forms Example, Source: KosArtworks via deviantart. License: CC BY-NC-SA 3.0

Before learning how to draw value, artists must first understand light logic. Light logic is the predictable behavior of light. Light is logical because it always travels in a straight line. The shape of a shadow is a direct response to a light source’s angle and intensity. As a result, an artist can harness the realistic portrayal of light by manipulating values in a drawing. The translation of light through value provides the key to drawing realistic portrayals of three-dimensional objects.

It is helpful to keep in mind that while light is logical, light and shadow change when light conditions change. As a result, many artists choose to create drawings with controlled lighting conditions. For example, building a still life inside with a single light source.

Aerial photograph showing five people walking on a cobblestone path with grass on either side, casting long shadows due to low sunlight. Shadows create distinct elongated shapes, emphasizing the time of day and direction of light.
Aerial View of People and Their Shadows. Source: inbal marilli via Wikimedia Commons. License: CC0 1.0

However, other artists may choose more challenging light and shadow conditions. For instance, an artist may use multiple light sources or, as shown in the photo above, go outside where the sun is the light source. As the sun moves throughout the day, shadows shift in response to its position. As a result, artists must also account for unexpected light interference from shifting clouds, fog, rain, etc.

Using Elements of Light to Define Form

Photograph of a pear with labeled lighting effects illustrating highlight, light, shadow, core shadow, reflected light, and cast shadow. Labels use white lines pointing to corresponding areas on the pear and its shadow, demonstrating light interaction and shading concepts.
Labelled Photo of a Pear with a Single Light Source, Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0

To portray light logic in drawings, artists include elements of light to define form. These elements include highlight, light, shadow, core shadow, reflected light, and cast shadow. Some artists will take on the challenge of translating color into value, as shown in the image above, while other artists opt to edit references to be black and white so they can focus on light logic and value. A black and white version of the reference is below.

Black and white photograph of a pear with labeled light and shadow areas to illustrate lighting concepts. Labels include highlight, light, shadow, core shadow, reflected light, and cast shadow, showing how light interacts with the pear and its surroundings.
Labelled Highlight Section of a Pear with a Single Light Source, Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0

The highlight is located on the part of an object that is perpendicular to the light source. It is the lightest part of an illuminated object. The size and perceived value of the highlight is affected by the object’s proximity to the light source.

Black and white photograph of a pear with labeled lighting effects demonstrating different shading techniques. Labels identify highlight, light, shadow, core shadow, reflected light, and cast shadow, illustrating light interaction on the pear's surface.
Labelled Light Section of a Pear with a Single Light Source, Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0

Light is the part of the object that faces the light source. Light is represented by values that are darker than the highlight but lighter than the other values.

Black and white photograph of a pear with labeled lighting effects illustrating highlight, light, shadow, core shadow, reflected light, and cast shadow. Labels are aligned with white lines pointing to corresponding areas on the pear and its shadow, demonstrating key components of light and shadow.
Labelled Core Shadow Section of a Pear with a Single Light Source, Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0

The core shadow is the darkest part of an object because it receives no illumination. The core shadow on a complex form will expand and contract as it follows the form’s intricate contours. The core shadow will get lighter as it moves towards the reflected light.

Photograph of a pear demonstrating different lighting effects with labeled lines indicating highlight, light, shadow, core shadow, reflected light, and cast shadow. The grayscale image emphasizes contrast and shading to illustrate how light interacts with the pear's surface and surrounding area.
Labelled Reflected Light Section of a Pear with a Single Light Source, Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0

Reflected light is the area on an illuminated form where the light bounces off a neighboring surface to illuminate a portion of the object’s form shadow. Reflected light is not as strong as direct light.

Black and white photograph of a pear with labeled lighting effects, illustrating different light and shadow areas for artistic or educational purposes. Labels include highlight, light, shadow, core shadow, reflected light, and cast shadow, showing how light interacts with the pear's surface and surrounding space.
Labelled Cast Shadow Section of a Pear with a Single Light Source, Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0

The cast shadow is dependent on the intensity and proximity of the light source. For instance, a hard light will produce a cast shadow with a sharp edge, whereas a soft light will produce a cast shadow with a softer or sometimes blurred edge. The further the cast shadow is from the object, the softer the edge of the shadow becomes. Subsequently, the cast shadow is darkest right underneath the object (also called the occlusion shadow) and gets lighter and lighter as it moves further away from the light source.

The images below show the same pear from above without annotations next to a light logic charcoal reduction drawing example. These images are shown side by side to provide a visual example of how a three-dimensional object, or black and white photo in this case, can be referenced in a drawing to show a full range of value from white to black.

Photograph of a single pear placed on a flat surface with a plain background, captured in black and white. Strong lighting creates a distinct shadow extending to the right, emphasizing the pear's texture and shape. A black and white charcoal drawing of a pear on a flat surface with a textured background. The artwork highlights light and shadow contrasts, emphasizing the pear's rounded shape and casting a long shadow to the right.

Pear with a Single Light Source Photo Reference and Charcoal Drawing of the Reference, Briana Miyoko Stanley, digital photo and charcoal on drawing paper, License: CC BY NC 4.0

Atmospheric Perspective

Photograph of a mountain range with multiple layers of peaks fading into the distance, creating a gradient of gray tones from dark in the foreground to light in the background. The scene captures atmospheric perspective and mist, emphasizing depth and rugged terrain.
Atmospheric Perspective of Mountains Example. Source: Mountain View on Pickpik. License: Public Domain Certification 1.0

Drawing outside from direct observation is a particularly challenging experience because light and shadow consistently shift and change. As a result, capturing an accurate portrayal of value becomes difficult to achieve. When the reference changes, the artist needs to make moment-by-moment decisions about how the drawing changes as well.

A technique artists use to create a deep sense of space is atmospheric perspective. Atmospheric perspective is the method of creating an illusion of recession by manipulating contrast. The foreground contains the most detail and high contrast. The middle ground has a little less detail and a medium range of contrast. The background includes general shapes and low contrast. By moving from detailed to general and high to low contrast, the artist simulates spatial depth.

Value Methods

Photograph showing two pairs of textured surfaces labeled "Additive" and "Subtractive," illustrating differences in shading and texture density. The "Additive" pair contrasts a densely crosshatched dark area with a lighter, smoother area, while the "Subtractive" pair shows a lighter textured area with visible diagonal lines fading into a smoother background.
Additive and Subtractive Charcoal Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

When drawing, values are created additively or subtractively. The additive process creates an image by adding particles of material (graphite, charcoal, etc.) to the substrate (drawing paper, canvas, etc.). The drawing’s tonal description is built up progressively by applying layers of value to the surface of the paper.

On the other hand, the subtractive process is achieved by removing particles of material (graphite, charcoal, etc.) from a substrate (drawing paper, canvas, etc.). In the subtractive process, an eraser is used as a drawing tool to create lighter values on a substrate.

These methods are exercised with a variety of drawing materials. You will practice some of these methods in the application section at the end of this chapter.

As you learn about and then apply value methods, avoid smudging the graphite, charcoal, etc., until your drawing is nearly complete. A good rule of thumb is to wait until your drawing is approximately 90% complete before using smudging tools and techniques to smooth out specific areas. I say specific areas because you want to avoid making everything uniform and smooth. Implied texture is beneficial in drawings, so only smudge surfaces that you want to look reflective, glossy, or polished.

While smudging a material such as charcoal will make it appear smoother, it will also push the material into the substrate. This makes it particularly difficult to erase or lighten if you need to adjust values, texture, etc., in your drawing. You also want to avoid surface textures that are too uniform. If all surfaces are smooth, the drawing will look flat and lifeless. For example, if you are trying to capture the implied texture of rough tree bark, you actually want to avoid smudging. Leaving a more raw finish will imply the rough texture you are trying to create.

Value Scales

Two grayscale gradient bars demonstrate shading techniques, with the top bar divided into eight distinct rectangular segments transitioning from white to black, and the bottom bar showing a smooth continuous gradient from white to black. This visual comparison highlights differences between segmented and blended shading styles for tonal value representation.
Gradient and Step Value Scales in Graphite, Briana Miyoko Stanley, graphite on drawing paper, License: CC BY NC 4.0

Value scales are a visual tool to show the sequence of values that progress incrementally from white to black. The standard value scale consists of nine values and progresses from white to black with seven shades of gray in between.

A step value scale is a progression in value from white to black that occurs in a series of equal increments.

A gradient value scale is a seamless progression in value from white to black.

A grayscale drawing showing two vertical value scales and a shaded pear on a flat surface. The scales range from black to white, demonstrating shading techniques used to create depth and realism in the pear illustration.
Gradient and Step Value Scales in Charcoal next to a Charcoal Pear Drawing, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

Value scales are excellent tools to keep on hand throughout the drawing process. You can use them as a visual reference to determine how light or dark objects are in a still life and directly compare them to your drawing.

A black and white digital painting depicting a dramatic mountainous landscape with a large fortress or city built into steep cliffs. Two figures stand near a boat on a calm body of water in the foreground, while dark clouds and rays of light create a moody, atmospheric scene.
Low Key Value Range Example. Source: art-of-bart via deviantart, License: CC BY-NC-SA 3.0

If values only span the range from mid-tones to black values, they are referred to as low key. Drawings with these values are often moody with dramatic tones. On the other hand, if values only span from mid-tones to white values, this is called high key. This value range in a drawing can make viewers feel more optimistic and upbeat.

Drawing of a young woman with long, wavy hair looking slightly to the side with a neutral expression. The high-key lighting creates a soft, ethereal effect with minimal shadows and a white background.
High Key Value Range Example. Source: via Sagadeev Vladimir (lik13vvs) via Wikimedia Commons. License: CC BY SA 4.0

Value Techniques

Drawing featuring numerous spheres arranged in a spiraling, tunnel-like pattern creating a sense of depth and motion. Spheres vary in shading from light to dark, with some containing abstract shapes and hair-like strands, enhancing the dynamic and hypnotic visual effect.
Arbitrary Value of Abstract Spheres and Implied Movement Example, Source: AmBr0 via deviant art, License: CC BY-NC-SA 3.0

Arbitrary Value is a subjective or intuitive response to a subject, rather than observed values.

Hatching refers to closely spaced parallel lines that are added to a form to create value and texture.

A black and white illustration depicts a man sitting on a wooden chair, leaning forward with his head resting on his arms on a piano keyboard. A framed picture hangs on the wall above the piano, suggesting a scene of exhaustion or deep contemplation related to music.
Cross-Hatching Drawing Example, Source: British Library via rawpixel, License: CC0 1.0

Cross-hatching is a technique used to create variations in value and texture that are achieved by placing multiple layers of parallel lines on top of each other. Each successive layer of hatched lines is placed at an angle to the preceding layer. The result is that each new layer’s lines cover openings left by the previous layer.

A grayscale gradient circle with a solid black center fading smoothly to light gray at edges. The design creates a vignette effect emphasizing the central dark area.
Gradient Example, Source: Piotr Siedlecki via needpix, License: CC BY-NC-SA 3.0

A gradient is a smooth and seamless shift in the appearance of value over a given distance.

Three horizontal gradient scales demonstrate shading techniques, with the top scale using smooth pencil shading, the middle scale using vertical lines, and the bottom scale using vertical lines with varying thickness and spacing. Each scale transitions from white on the left to solid black on the right, illustrating different methods to achieve tonal variation.
Grayscale Example in Graphite and Ink, Briana Miyoko Stanley, graphite and ink on Bristol Board, License: CC BY NC 4.0

Grayscale is the range of gray tones between black and white.

A detailed black and white charcoal drawing of a human hand viewed from the back, showcasing prominent veins and realistic shading. The artwork emphasizes anatomical accuracy and depth, with handwritten notes and a signature visible near the bottom and top right corners.
Tonal Hand Drawing Example. Study of a Hand, A. Mongrédien, 1881, charcoal drawing

Source: Look and Learn, License: CC0 1.0

Tonal Drawing is created when there is a gradual increase or decrease from light to dark in one part of a drawing to another. There are no lines; only value contrast is used to create the imagery of the spheres and implied movement in the drawing example above.

A black and white stippled drawing depicts a spherical object resting on a flat surface with a dark background. Dense clusters of dots create shading and depth, highlighting light source from the upper left and casting a shadow beneath the sphere.
Scumbling Drawing Example of a Sphere, Source: reinder via Turtletoy. License: CC BY-NC-SA 4.0

Scumbling is the value technique of using scribbles to imply changes in light to dark and implied form.

A side-by-side comparison of two squares, one on a black background and the other on a white background, both filled with the same shade of gray. The contrast between backgrounds highlights how gray appears differently depending on surrounding colors.
Simultaneous Contrast Value Example, Source: Paaliaq via Wikimedia Commons. License: CC BY-SA 3.0

Simultaneous Contrast is the theory that one value can change how we perceive a different value when the two are placed side by side. For example, in the image above to the left, the center gray looks light in comparison to the black that surrounds it. However, the same gray value above to the right appears much darker surrounded by white.

A black and white stippling drawing of a sphere resting on a surface, created using numerous small dots to form shading and depth. Darker dot clusters indicate shadow areas beneath and on the left side of the sphere, while lighter dot spacing suggests light hitting the upper right side.
Stippling Drawing of a Sphere Example, Source: Kirill Ignatyev via

Flickr, License: CC BY-NC-ND 2.0

Stippling is the technique of using a drawing tool to make dots on a substrate. The farther apart the dots are, the lighter the perceived value; the closer together the dots are, the darker the perceived value. A detailed example of drawing with stippling is shown below. This technique is often seen in vintage comic books because they were printed with an inexpensive mechanical printing method called Ben-Day dots.

Photograph of a tiger's face with a circular close-up inset highlighting detailed fur texture using a stippling technique. The black and white image emphasizes the tiger's eyes, whiskers, and striped pattern, showcasing intricate artistic shading and dot work.
Stippling Soft Texture Tiger Drawing Example, Source: Stevep67 via deviantart. License: CC BY-NC-SA 3.0

Master Artist: Leonardo da Vinci and Light Logic

In art historical terms, light logic is often discussed using an Italian word: chiaroscuro (“chiaro” for light or bright and “scuro” for dark). Chiaroscuro is modeling in highlights and shadows. When you combine observational drawing with light logic, you sharpen your perceptual skills through observation, including the subtle play of light and shadow. The Italian Renaissance artist, Leonardo da Vinci, mastered the subtlety of light and shadow in his work. While he left behind a small number of completed artworks, da Vinci produced numerous sketches and studies, such as A Study of a Woman’s Hands (c. 1490). In this study, da Vinci considered the direction of the light source, the gradations of tonal value to create contrast, and how to logically cast shadows. Paying attention to the way light logically affects an object, he was able to create the illusion of three-dimensions on a two-dimensional surface. Art historians think A Study of a Woman’s Hands may have been used in preparation for a finished portrait. As a Renaissance artist, da Vinci was fascinated by techniques used to create the illusion of depth. Renaissance artists achieved this through chiaroscuro modeling, linear perspective, and atmospheric perspective — all techniques you are learning!

A detailed sketch depicting three human arms and hands with one hand closed while the other is open and relaxed around an arm. The drawing features fine shading and cross-hatching techniques, with faint outlines of additional figures and anatomical studies in the background.
Leonardo da Vinci, A Study of a Woman’s Hands, c. 1490, Charcoal, metalpoint, white heightening, on pale pinkish-buff prepared paper, 21.5 x 15.0 cm, Royal Collection Trust. License: Public Domain CC0 1.0

“Master Artist: Leonardo da Vinci and Light Logic.” Written by Chelsea Wright. License: CC BY

Licensing and Attributions

“Value.” Written by Briana Miyoko Stanley. License: CC BY

Value Activities

Value Scales Activity

Description

For this activity, you will practice creating a full range of values with charcoal by making two separate value scales. You will use a variety of materials and techniques, including vine charcoal, charcoal pencils, and erasers, to apply additive and reductive drawing techniques.

Activity Parameters

Duration

1-2 Hours

Size

7×11” (Two 2×9” value scales with a 1” border on all sides.)

Subject

Two value scales: one a step scale and the other a gradient scale

Applied Techniques
  • Cross-Hatching – creating value with layers of parallel lines
  • Reduction Drawing – remove charcoal to create light values
  • Additive Drawing – add charcoal to create dark values
Materials
Student Learning Outcomes
  • Controlled value techniques, such as hatching, crosshatching, additive, and subtractive drawing in charcoal.
  • Applied Value Chapter knowledge to show a full range of light to dark values as step and gradient scales.

Method

Preparatory Steps
  1. Use a ruler and HB graphite pencil to draw two 2×9” rectangles centered on a piece of paper.
    1. Leave room for a border (at least 1” on all sides) around the rectangles.
  2. Use the ruler and HB pencil to make nine sections in the top rectangle.
    1. Make each section 1” wide, 2” tall.
    2. Do not draw section lines in the gradient scale (bottom rectangle).
  3. Tape the exterior borders of both rectangles with painter’s tape.
    1. Remove the excess tackiness of the tape beforehand, so the tape can be removed without tearing the paper after the value scales are complete.

Photograph of two white rectangular strips framed by blue tape, with the top strip divided into ten equal sections by vertical lines and the bottom strip left blank. The layout suggests a comparison purpose, highlighting the segmented versus unsegmented design.

             1         2           3         4          5         6          7          8          9

Gradient and 9-Step Value Scale Setup, Briana Miyoko Stanley, graphite on drawing paper, License: CC BY NC 4.0

  1. Tone the paper with vine charcoal and a powder puff.
    1. Leave the far-right section white, this will be known as Step 9.
    2. Use very light pressure when using the powder puff
    3. Aim to create an even medium grey.

Photograph of a hand using a black vine charcoal to create a textured rubbing on a white strip of paper taped to a surface with blue painter's tape. The rubbing reveals a detailed, rough pattern underneath, contrasting with a blank white strip beside it. Photograph showing a close-up of a hand using a powder puff on a white surface with black textured patterns, bordered by blue painter's tape. The scene highlights toning process using vine charcoal on drawing paper.

Using Vine Charcoal to Tone Paper (left) and Using a Powder Puff to Tone Paper (right), Briana Miyoko Stanley, vine charcoal on drawing paper, License: CC BY NC 4.0

Photograph of a vertical striped pattern framed by blue painter's tape demonstrating a toned step scale.

Toned Step Scale for Value Scales Activity, Briana Miyoko Stanley, vine charcoal on drawing paper, License: CC BY NC 4.0

Process
  1. Begin with the extremes on the step scale. Step 1 is your darkest dark and Step 9 is your lightest light.
    1. Use a kneaded eraser to remove unwanted charcoal dust from Section 9.
    2. Then, cover all of the sections with a paper apron, an extra piece of paper, except for Step 1.

Photograph of a blank white rectangular sheet taped onto a surface with three pieces of blue painter's tape. The background consists of vertical gray and blue stripes with a brown edge visible on the right side.

Paper Apron for Value Scales Activity, Briana Miyoko Stanley, vine charcoal on drawing paper, License: CC BY NC 4.0

  1. In Step 1, crosshatch with the charcoal pencils until you create a solid black. Start with a medium pencil and then add crosshatch layers with softer charcoal pencils, such as 4B and 6B.

Photograph of two horizontal rectangular strips taped onto a surface with blue painter's tape forming a border around them. The top strip is mostly white with faint gray smudges, while the bottom strip has a similar white area above a solid black section at the left.

White and Black Steps on the Step Scale, Briana Miyoko Stanley, vine charcoal on drawing paper, License: CC BY NC 4.0

Photograph showing two examples of hatching techniques labeled Additive and Subtractive, demonstrating different shading methods using diagonal lines. Additive hatching features dark, closely spaced lines on a lighter background, while Subtractive hatching shows lighter lines on a darker shaded surface.
Additive and Subtractive Hatching Drawing Examples, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0
  1. Create medium gray in the middle, Step 5.
    1. Locate the middle step and cover its neighboring steps with paper aprons.

  1. Then, use additive and subtractive crosshatching techniques to create a medium gray. Aim to create a value 50% lighter than black and 50% darker than white.

Photograph of a white surface with a rectangular area in the center shaded dark gray and bordered by blue painter's tape. The tape forms an incomplete frame around the shaded area, with some pieces overlapping and edges uneven.

Toned Paper with Darkest Dark, Medium Gray, and Lightest Light for the Step Value Scale, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

  1. Create Steps 3 & 7 with paper aprons, charcoal pencils, and erasers.
    1. Aim to make Step 3, a value 50% darker than Step 5 and 50% lighter than Step 1.

Photograph showing a hand holding a kneaded eraser above a rectangular area shaded with pencil, bordered by blue painter's tape on white paper. The setup suggests a drawing technique demonstration.

Paper Aprons for Step 7, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

  1. Aim to make Step 7, a value 50% lighter than Step 5 and 50% darker than Step 9.

Photograph of two rectangular strips side by side on a blue background, with the top strip showing a faint, uneven gray texture and the bottom strip displaying six vertical black and white alternating bands. The contrast between the solid bands and the subtle shading suggests a comparison of shading techniques.

Value Steps 1,3, 5, 7, and 9 Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

  1. Create the remaining steps
    1. Sections 2, 4, 6, & 8

Photograph of two rectangular strips side by side on a blue background, with the top strip showing a faint, uneven gray texture and the bottom strip displaying six vertical value gradations from black to white.

Initial Value Step Scale Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

  1. Rebalance
    1. Finish the scale by evening out values where necessary. Identify if there are “jumps” between two tones and adjust as needed with additive and subtractive techniques.

Photograph of two rectangular strips side by side on a blue background, with the top strip showing a faint, uneven gray texture and the bottom strip displaying six vertical value gradations from black to white.

Revised Value Step Scale Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

  1. Start the Gradient Scale
    1. Switch from working on the step scale to working on the gradient scale.
    2. The objective of the gradient scale is to create a seamless shift from the darkest to the lightest charcoal values. Parallel the values you created in the step scale, so the values align between the two scales.
    3. View the short gradient scale demonstration video to help apply additive and subtractive techniques to adjust the values and create smooth value transitions.

Photograph of a rectangular gradient transitioning from white at right to black at left, bordered by blue painter's tape. The gradient demonstrates smooth tonal variation, likely used for shading techniques.

Gradient Scale Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

  1. Remove Tape (optional)
    1. Use a hairdryer on low heat and speed to help loosen the tape. Avoid temperatures too hot or high speeds because these can damage the exercise.
    2. Lift the tape by carefully pulling it away or towards you. Do not lift the tape directly up or abruptly tug on it, since this will rip the paper.

Photograph of two grayscale gradient strips side by side, bordered by blue tape on a blue background. Top strip shows a smooth continuous gradient from black at bottom to white at top, while bottom strip displays distinct horizontal bands transitioning from black to white. Photograph showing a hand peeling blue painter's tape from a drawing board with a grayscale gradient artwork. The tape frames the artwork in a rectangular shape, highlighting careful removal to reveal clean edges around the shaded gradient.

Tape Removal Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

  1. Finishing Touches
    1. Confirm the values in both scales parallel to each other as the value moves from dark to light.
    2. Use an eraser to clean up the edges of the exercise.

Two grayscale gradient bars demonstrate shading techniques, with the bottom bar divided into distinct rectangular segments transitioning from white to black, and the top bar showing a smooth, continuous gradient from light to dark. This comparison highlights differences between segmented and blended shading styles for visual texture and depth.

Completed Value Scales Activity, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

Tips

  • Always use a sharp pencil
    • Use sandpaper to help smooth out the tips of freshly sharpened charcoal pencils
  • Use a drawing apron (straight edge of tracing paper) to avoid smudging and help create crisp edges.
    • A protective layer while drawing is used to keep the paper outside of the drawing’s image area clean and free of unwanted marks and smudges.

Result

The result will be two value scales – one a step scale showing distinct increments of light to dark value, and the other a gradient scale showing an even and seamless progression from light to dark. The two scales should mirror each other’s values.

Charcoal Reduction Activity

To develop your skills in creating value, we are going to dive into a rigorous drawing project. The project is titled the Charcoal Reduction Activity because the method you will use to complete the project is reductive drawing.

Reduction drawing is an art technique in which you remove material from a substrate. What that means for this project is that you will use vine charcoal (or charcoal powder) and a powder puff to cover a piece of drawing paper with an even layer of medium gray. The goal is to tone the paper an even gray with light pressure. You want the charcoal to sit on the surface rather than working it into the paper. If aggressive pressure is used, it will be difficult to adjust or remove the charcoal later on in the drawing process.

Description

This is a charcoal reduction still life activity. The activity combines many of the techniques we have been learning and requires you to accurately record visual information into a drawn form. However, this time we will be using and adapting these techniques to create a charcoal drawing.

Using charcoal requires working with reductive and additive techniques. It also incorporates light logic and tonal value. This will be a rewarding but also challenging and time-intensive assignment.

Project Parameters

Duration

20+ Hours

Size

18×24” (16×22” Image Size with 1” Border)

Reference

An achromatic still-life composed of a backdrop, objects (minimum of 4), light, and shadow

Applied Techniques
  • Direct Observation – draw the still-life objects as they are seen
  • Reduction Drawing – remove charcoal to create light values, also called subtractive drawing
  • Additive Drawing – add charcoal to create dark values
Materials

Student Learning Outcomes

  • Use of charcoal to create a realistic tonal drawing of at least four still-life objects with a backdrop
  • Accurate record of light, shadow, and texture
  • Application of additive and reductive charcoal drawing techniques

Method

Still-Life Setup

Optional Step: Choose a theme (concept) to create a visually interesting still-life setup. Consider the backdrop, objects, and lighting conditions.

  1. Gather still-life objects of various sizes, textures, values, and limit to 1-2 colors.
    1. Building Materials
      1. Backdrop – paper or fabric
      2. Platform Items – boxes/additional items to act as supports to vary the height of objects in the still-life
    2. Object Categories – 1 of each (*however, you can add more objects)
      1. White Object
      2. Gray Object
      3. Black Object
      4. Glass OR Metallic Object
    3. Lighting:
      1. Spotlight – single light source to illuminate the setup; position it to create interesting highlights and shadows
  2. Build the Still-Life Setup
    1. Place objects so that some overlap, showing clearly what is in front or behind another object to add a sense of space.
    2. Account for both negative and positive space.
    3. Form connections that lead the eye around the composition.
    4. Choose a focal point – I recommend a glass or metal object.
    5. Be willing to change out objects and add others in.
  3. Intentionally Light the Still-Life Setup
    1. Lighting in a still-life setup is critical and can enhance or ruin a composition.
    2. A single source of light, preferably coming from the side, creates a clear pattern of lights and darks that helps define forms and relationships between objects.
    3. During setup, try different light solutions; different light effects can dramatically change the feel of the same composition.
Still life photograph featuring a white classical bust, books, a glass vase with bare branches, and white flowers arranged on a dark cloth backdrop. Additional elements include a large seashell, a glass bottle, a metal key, and a skull, creating a contrast between natural and man-made objects.
Still Life Reference Example, Briana Miyoko Stanley, digital photo, License: CC BY NC 4.0
Preparatory Drawing Steps
  1. Tone the Paper
    1. Create a 1” border with painter’s tape on an 18×24” piece of drawing paper.
    2. Use vine charcoal (or charcoal powder), a powder puff, and a drafting brush to tone the 18×24” piece of drawing paper.
      1. Use light pressure
      2. Use the drafting brush to clean up charcoal dust
      3. Repeat until an even medium gray is achieved
Photograph of a textured gray rectangular sheet centered on a blue background. The sheet has a fibrous, slightly mottled surface with no visible text or markings.
Toned Paper for Charcoal Reduction Drawing, Briana Miyoko Stanley, charcoal on drawing paper with painter’s tape, License: CC BY NC 4.0
  1. Draw Crosshairs
    1. Get two pieces of 18×24” paper
      1. Fold one in half on the long side, and the other in half on the short side.
    2. Use these two folded pieces to draw crosshairs in vine charcoal.
Photograph of a rectangular sheet divided into four equal quadrants by two intersecting black lines, placed on a blue background. The sheet has a textured gray surface with subtle variations in shading across each quadrant.
Toned Paper with Vine Charcoal Cross Hairs for Charcoal Reduction Drawing, Briana Miyoko Stanley, charcoal on drawing paper with painter’s tape, License: CC BY NC 4.0
Drawing Process
  1. Create a Proportion Box
    1. Look at the still life setup and locate an object you can see fully (not covered up by another item).
    2. Then, use the viewfinder to determine where the object will be in your drawing.

Sight and measure to determine the proportion of the object. After you have the proportion ratio from sighting and measuring and the location from the viewfinder, use the vine charcoal to indicate where the top, bottom, and sides of the proportion box will be. After the primary unit of measure is indicated with light marks, use one of the folded 18×24” paper guides to help create straight lines for the sides of the proportion box. Using the folded paper will keep any natural oils from your skin from coming into contact with the paper. It will also limit smudging and/or any alterations to the toned paper.

A split photograph showing two sections: the left side features a close-up of a yellow-highlighted cup with measurement lines indicating "1 Cup Width" and a smaller labeled "Cup Width" for scale comparison. The right side displays a textured surface with faint vertical and horizontal lines, possibly for alignment or measurement reference, framed by a blue border.
Annotated Photo with Sighting Measurements (L) and Vine Charcoal Markings to Indicate Height and Width Locations for a Proportion Box (R), Briana Miyoko Stanley, annotated digital photo, and charcoal on drawing paper with painter’s tape, License: CC BY NC 4.0
A split photograph and drawing setup shows a still life arrangement on the left with a bust, bottle, cup, and striped cloth, marked with vertical and horizontal guide lines. On the right, a blank drawing surface taped to a board features faint grid lines and initial sketch marks, indicating preparation for a detailed drawing of the still life.
Reference Photo with Cross Hairs (L) and Construction Drawing with a Proportion Box (R), Briana Miyoko Stanley, annotated digital photo and vine charcoal on drawing paper, License: CC BY NC 4.0
  1. Create foreground and middle ground proportion boxes
    1. Sight and measure to create the proportion boxes for objects in the foreground and middle ground
      1. Continue to avoid smudging or altering the toned paper.
      2. Continue to use vine charcoal for all of these steps.
A side-by-side comparison photograph and drawing setup shows a still life arrangement with a classical bust, bottles, and glasses on the left, and a preliminary sketch with vertical and horizontal guidelines on the right. The photograph features grayscale tones with highlighted areas in green and yellow, while the drawing uses pencil lines on textured paper secured by blue tape on a wooden board, illustrating the initial stages of translating the scene into a structured composition.
Reference Photo with Cross Hairs (L) and Construction Drawing with Foreground Proportion Boxes (R), Briana Miyoko Stanley, annotated digital photo and vine charcoal on drawing paper, License: CC BY NC 4.0
  1. Draw Centerlines for Symmetrical Objects
    1. To check for symmetry, draw a vertical line down the center of each symmetrical item in your drawing. (Use vine charcoal)
      1. The demo image shows dashed vine charcoal lines to indicate the center lines of symmetrical objects.

*Line of Symmetry – Any line splitting a shape into two equal parts.

A side-by-side photograph shows a still life arrangement on the left and a corresponding drawing setup on the right. The left side features a bust, bottles, and glassware with colored translucent overlays highlighting specific objects, while the right side displays a taped drawing paper with faint geometric guidelines matching the arrangement's composition.
Reference Photo with Proportion Boxes (L) and Proportion Box Drawing for Foreground and Middle Ground Objects (R), Briana Miyoko Stanley, annotated digital photo and vine charcoal on drawing paper, License: CC BY NC 4.0
  1. Block in the Foreground and Middle Ground Objects
    1. Indicate the objects – lightly mark the general form of each object in vine charcoal with contour lines.
    2. Use vine charcoal to draw volumetric form rather than details.
    3. Start with the primary object and then use it as a guide to indicate the neighboring objects.
A side-by-side comparison photograph and pencil sketch shows a still life arrangement with bottles, a bust, a goblet, and fruit. The photograph highlights the goblet in yellow and vertical and horizontal guide lines in blue, while the sketch outlines the same objects with precise geometric construction lines.
Reference Photo with Indicated Proportion Boxes (L) and Construction Drawing with Symmetrical Foreground Object Center Lines (R), Briana Miyoko Stanley, annotated digital photo and vine charcoal on drawing paper, License: CC BY NC 4.0
  1. Draw through the Objects = Act as if the objects are transparent
    1. Draw as if you can see through the objects to set up a believable structure for each component of the drawing. Think of this as the foundational blueprint for the drawing.
    2. To do this on symmetrical circular forms, such as the metal cup above, draw ellipses that travel from the front, curve to the back, and then curve back to the front. Crosshairs to mark the width and depth of the ellipses can provide additional assistance in making ellipses more accurate.
    3. These through lines, lines we imagine we can see through the objects, help us develop accurately drawn forms.
A side-by-side comparison of a still life photograph and its corresponding pencil sketch drawing, both featuring a bust, bottle, glass, and fruit arranged on a table. The photograph uses color overlays to highlight objects, while the sketch shows construction lines and basic shapes, illustrating the artistic process from initial outline to detailed image.
Reference Photo with Proportion Boxes (L) and Construction Drawing with Symmetrical Foreground and Middle Ground Objects Indicated with Center Lines (R), Briana Miyoko Stanley, annotated digital photo and vine charcoal on drawing paper, License: CC BY NC 4.0
  1. Indicate objects in the background
    1. After the foreground and middle ground objects are simply indicated, use points of overlap to record the simple shapes of background objects.
Side-by-side comparison of a black-and-white photograph and a pencil sketch depicting a still life arrangement with a bust, bottles, cups, and a pear. Both images include compositional guidelines with intersecting vertical and horizontal lines, highlighting alignment and proportion of objects within the scene.
Reference Photo with Cross Hairs (L) and Construction Drawing with All Referenced Objects (R), Briana Miyoko Stanley, annotated digital photo and vine charcoal on drawing paper, License: CC BY NC 4.0
  1. Indicate Interior contour lines
    1. Use vine charcoal to draw all of the interior contour lines you observe.
      1. These include, but are not limited to, reflections, folds of fabric, paper creases, light and shadow mapping, etc.

*This is the last step for using purely vine charcoal. For the following steps, use charcoal pencils. Then, incorporate compressed charcoal for darker values.

A pencil sketch depicting a still life arrangement featuring a classical bust, a wine bottle, a pear, and three drinking vessels of varying shapes and sizes. The composition uses fine lines and shading to emphasize texture and form, with notable details including the bust's facial features and the intricate design of the goblet in the foreground.
Interior Contour Lines in Vine Charcoal, Briana Miyoko Stanley, vine charcoal on drawing paper, License: CC BY NC 4.0
  1. First value range indication
    1. To start, close one eye, look at the still life, and identify an area where the darkest and lightest values in your composition are close together.
    2. These two values create the endpoints of the value range of your drawing (lightest & darkest possible values).
      1. For example, a white object illuminated by the light source will be the lightest value, and a black object in shadow will be the darkest.
Two-panel comparison showing a grayscale photograph on the left and a corresponding detailed pencil sketch on the right, both depicting a still life arrangement with a bust, bottle, glass, and fruit. The photograph includes grid lines and an orange arrow highlighting the bust's neck area, while the sketch replicates the composition with visible contour lines and shading to capture depth and texture.
Annotated Reference Photo Indicating an Area with High Contrast (L) and a Charcoal Reduction Drawing with a Very Dark Value next to a Very Light Value (R), Briana Miyoko Stanley, annotated digital photo, and charcoal pencils on drawing paper, License: CC BY NC 4.0
  1. Create local values
    1. Local Value: value of an object or figure without light and shadow.
    2. By creating the local value of objects, viewers will be able to discern if an object is white, grey, or black in the drawing.
    3. To do this, use the kneaded eraser to make white objects lighter (do not erase completely), and the HB charcoal pencil to crosshatch and add value to darker objects (avoid going too dark).

A photograph showing a close-up of a hand using a kneaded eraser to create highlights on a detailed pencil drawing of a bottle and fruit. The drawing features intricate shading and contour lines, with the eraser shaping light areas to enhance depth and realism. A detailed pencil drawing depicting a still life arrangement with a classical bust, a bottle, various glassware, and fruit. The composition uses shading and line work to create depth and texture, highlighting contrasts between smooth surfaces and intricate details.

Kneaded Eraser Example (L) and Local Values Development (R), Briana Miyoko Stanley, charcoal and erasers on drawing paper, License: CC BY NC 4.0

  1. Establish the value pattern
    1. After the local value of each object is generally in place, establish the value pattern.
    2. Value Pattern: is the overall organization relationship of light, mid-tone, and dark values in a work of art.
A detailed black and white pencil drawing depicting a classical bust surrounded by various objects including a bottle, a cup, a goblet, and fruit. The composition uses shading and texture to create depth and contrast, highlighting the intricate features of the bust and reflective surfaces of the vessels.
Value Pattern Establishment with Charcoal Pencils, Erasers, and Compressed Charcoal, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0
  1. Apply light logic (do not use white charcoal yet)
    1. To define the volume of each form, describe the effect of light on its surface.
    2. In order to determine the correct value of a form’s half-tone and core shadow, you must compare their value to the established darkest dark.
    3. Consequently, to determine the correct value of a form’s light half-tones and highlights, you need to compare their value to the established lightest lights.
A photograph shows a hand using a mono eraser to do reductive drawing on a still life featuring reflective metal cups, a pear, and various textured objects. The artwork highlights intricate shading, reflections on the metal surfaces, and realistic textures, demonstrating advanced drawing techniques.
Mono Zero Eraser Reductive Drawing Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0
  1. Refine forms & spatial relationships
    1. Use the principles of atmospheric perspective to create spatial depth.
      1. Draw foreground objects with more detail, higher contrast, and a greater range of values.
      2. As objects move back in space, record fewer details and value changes.
      3. High details and contrast cause objects to advance, while objects with fewer details and limited value changes recede.
A detailed pencil drawing depicting a still life arrangement with a bottle, crumpled paper, a bust sculpture, and a glass. The composition features strong contrasts of light and shadow, with textured shading creating depth and highlighting the interplay between objects.
Refining Forms Charcoal Reduction Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0
  1. Surface Texture
    1. For every object, consider not only its form and edge, but also its texture. Different materials have different surface textures.
    2. For example, if there is a shiny metal cup in your still life, it will require high contrast, sharp internal edges, complex value shifts, and a wide variety of gradations. Please refer to the “Tips” section at the end of this activity for further instruction.
    3. Whereas a matte finish object with a non-reflective surface located in the background of the composition would need to be rendered in soft edges and a more limited value range.

Photograph of a reflective silver cup placed on a cloth surface. The cup features a smooth, polished finish with vertical reflections and a rounded base. A black and white drawing of a reflective metal goblet placed on a surface alongside a pear and other objects. The goblet's polished surface captures distorted reflections of surrounding items, creating an intricate interplay of light and shadow.

Metal Cup Digital Photo (L), and Metal Cup Charcoal Reduction Drawing Close-Up (R), Briana Miyoko Stanley, digital photo and charcoal on drawing paper, License: CC BY NC 4.0

  1. Simultaneous Contrast
    1. As value is distributed, certain value relationships can be deceiving because of simultaneous contrast
    2. A dark form can appear to be darker in value than it actually is if it is adjacent to a light form. Consequently, a light form can appear to be lighter in value than it actually is if it is adjacent to a dark form.
A black and white drawing of a still life arrangement featuring a classical bust, a reflective silver goblet, a pear, and various glass and metal vessels. The composition highlights contrasting textures and light reflections, with the bust positioned centrally and draped fabric in the background adding depth.
Charcoal Reduction Drawing In-Process, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0
  1. Refinement & White Charcoal
    1. Once your drawing is nearly complete, you can strategically blend to create smoother gradients and transitions where appropriate. Do not overblend. Objects with a rough texture (rocks, twigs, etc.) should be drawn as such; objects with a smooth texture (fabric, glass, etc.) should be blended.
    2. After refining the drawing, use the white charcoal to emphasize highlights and heighten contrast.
A black and white drawing featuring a classical-style bust sculpture on the right side, with detailed facial features and curly hair. The background includes a striped fabric with dark and light bands and a bottle with a hand holding it on the left side, creating a contrast between textures and shapes.
White Charcoal on the Drawn Bust Close-Up, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0
  1. Compositional adjustments
    1. Turn your drawing upside down. Step at least 6’ back from it.
    2. Ask yourself what catches your eye first, second, and so on. Was the first thing to catch your eye the focal point? Is the area with the closest value range in the background?
    3. Depending on the answers, your drawing may need adjustments before it’s complete.
Drawing depicting a classical bust surrounded by various glass bottles and objects on a striped cloth background seen from upside down. The composition highlights detailed textures and contrasts between smooth surfaces of the bust and reflective qualities of the glass elements.
Upside Down Reductive Drawing Test Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0
  1. Re-establish the compositional order
    1. Revising an object’s value, edge, level of detail, etc., will reaffirm its spatial relationship in the composition.
    2. To create a hierarchical structure, selectively adjust values and make modifications to edges and levels of detail to provide order to your composition.
    3. These adjustments should be based on compositional considerations rather than on direct observation. You should make adjustments that distinguish or diminish the visual prominence of certain areas, forms, or passages within the composition.
  2. (Optional) Tape Removal
    1. To remove the protective border, carefully lift the tape from the corner and gently pull it away from the edge of the paper.
    2. If the tape does not release easily from the drawing paper, use a hairdryer to heat the tape’s adhesive. If you choose this method, firmly hold the drawing, carefully lift up a corner of the tape, and, with the hot air from the hairdryer directed at the section of tape you want to remove, carefully and slowly remove the tape from the paper. Repeat this process until all of the tape is removed.
    3. The final step in the drawing is to use your eraser to clean up the border edges.

A black and white drawing of a still life composition featuring a classical bust, a wine bottle, a pear, and reflective goblets arranged on a surface. The image highlights contrasts in texture and light, with the bust's smooth stone surface juxtaposed against shiny metal and glass objects.

Completed Reductive Drawing Assignment Example, Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0

Tips

  • How to avoid smudging
    • Use a sheet of tracing paper to rest your palm on while you draw. This will decrease the chance of smudging and also keep the natural oils of your hand from damaging the drawing.
    • Change out the tracing paper regularly to cut down the transfer of charcoal dust and to keep from dirtying your drawing.
    • Keep a wet towel or wipe nearby to clean off your hands and/or work surface. Charcoal tends to cling to surrounding surfaces.
  • Work from general to specific and record the overall relationship of light and dark within the drawing.
  • To add value (make an area darker), use the Charcoal Pencils to Crosshatch
    • To indicate your value range, use the charcoal pencils and cross-hatching technique to gradually darken the base tone with even, light pressure. Make sure the cross-hatch lines are straight and close together. With each layer, the value development will become smoother and smoother.
    • *Developing value with cross-hatching will take an immense amount of time and thereby patience, but it will also result in controlled and intentional values.
  • To subtract value (make an area lighter), use the kneaded eraser
    • After you have established the darkest value in a small area of your drawing, use your eraser to adjust, through subtraction, the lightest value. Continue to cross-hatch and erase the charcoal dust from the surface of the paper until you have achieved the appropriate light value.
  • How to draw metallic objects
    • Like every other object, lit with a single light source, the metal cup has a light side and a shadow side. However, because its texture is smooth and shiny, objects that are next to it are reflected on its surface. Though this makes describing the form more challenging, your approach to drawing it should not change.
    • Just as you would with any other object, you must work from general to specific to indicate the object’s surface details, like reflections, after the basic volumetric form is established.
    • Keep in mind that reflections in metallic objects tend to have curved and more defined edges.
  • How to draw glass objects
    • Like other reflective objects (metal, high-gloss ceramic, etc.) glass is challenging to draw because it has its own local value, but it also shows a record of its surroundings.
      • Reflected forms will stretch or constrict depending on the glass’s shape and surface area.
      • Draw what you see, not what you think the glass or reflections should look like.
      • Record what is reflected on the surface of the glass and observed through the glass. The clearer and more transparent the glass, the more material there is to record. Make sure to work from general to specific to avoid becoming overwhelmed or too intimidated by this challenging object.
      • Typically, an object seen through glass will be lighter in value with a softer edge.
      • Objects seen through glass will not perfectly match up with objects outside of the glass.
Drawing of a decorative glass bowl with a wide, flared rim and a rounded base. The bowl features an embossed swirling pattern throughout its translucent surface.
Glass Value Drawing Example, Source: Vidrio Soplado Arts and Crafts on Wikimedia Commons, License: CC BY-NC-SA 3.0

Result

The result of the activity is a detailed and accurate charcoal reduction drawing of a still life. The drawing will demonstrate the development of your light logic knowledge and improved technical skills.

Licensing and Attributions

“Value Activities.” Written by Briana Miyoko Stanley. License: CC BY

License

Icon for the Creative Commons Attribution 4.0 International License

Foundations of Drawing Copyright © by Briana Stanley; Stephen P. Curry; Chelsea Wright; and Elaine Wilson is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.

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