{"id":2168,"date":"2026-08-11T15:54:06","date_gmt":"2026-08-11T15:54:06","guid":{"rendered":"https:\/\/pressbooks.palomar.edu\/art102\/chapter\/value\/"},"modified":"2026-08-20T16:45:37","modified_gmt":"2026-08-20T16:45:37","slug":"value","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palomar.edu\/art102\/chapter\/value\/","title":{"raw":"Value","rendered":"Value"},"content":{"raw":"

Introduction<\/h2>\r\nEverything we see has value. Value<\/strong> 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.\r\n\r\n[caption id=\"attachment_2096\" align=\"alignnone\" width=\"395\"]\"Pencil Graphite Still Life Drawing Example, Source: Vase and Bananas Still Life Drawing on PX Here,<\/u><\/a> License: CC BY-NC-SA 3.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nTonal values provide vital information about light and how drawn objects occupy space, and shading<\/strong> 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<\/strong> 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<\/strong> value patterns contain mostly light to mid-tone values and very few to no dark values.\r\n\r\nWhite 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<\/strong> occur when one value is compared to another to determine if it is lighter or darker.\r\n\r\n[caption id=\"attachment_2097\" align=\"alignnone\" width=\"585\"]\"Black Charcoal Still Life Drawing Example, Source: Peter Alfred Hess<\/u><\/a> via Flikr<\/u><\/a>, License: CC BY-NC-SA 3.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nA value range<\/strong> 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.\r\n\r\n[caption id=\"attachment_2098\" align=\"alignnone\" width=\"733\"]\"A High Contrast Example. Source: rawpixel<\/u><\/a>. License: CC0 1.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nAn essential ingredient for understanding value is intentionally applying contrast. Contrast<\/strong> 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<\/strong> 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<\/strong> drawing. For example, a light gray and a medium gray.\r\n\r\n[caption id=\"attachment_2099\" align=\"alignnone\" width=\"512\"]\"A Hatching Coarse Texture Buffalo Drawing Example. Johann Christian Reinhart, Buffalo Head Facing Left<\/em>, from Die Zweite Thierfolge, 1799\/1803. Etching on ivory laid paper.<\/strong>[\/caption]\r\n\r\nSource:<\/strong> Art Institute of Chicago<\/u><\/strong><\/a>. License:<\/strong> CC0 1.0<\/u><\/strong><\/a>.\r\n\r\nIn 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.\r\n\r\nValue contrast has dramatic power! Strong contrasts of light and dark can create focal points in a composition. Focal points direct the viewer\u2019s attention and help subdue backgrounds to create expansive space.\r\n\r\nTypical art materials used to create value drawings include graphite, charcoal, ink, and erasers.\r\n

Light Logic<\/h3>\r\n[caption id=\"attachment_2100\" align=\"alignnone\" width=\"667\"]\"Black Single Light Source on Basic Forms Example, Source: KosArtworks<\/u><\/a> via deviantart<\/u><\/a>. License: CC BY-NC-SA 3.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nBefore learning how to draw value, artists must first understand light logic. Light logic<\/strong> 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\u2019s 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.\r\n\r\nIt 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.\r\n\r\n[caption id=\"attachment_2101\" align=\"alignnone\" width=\"786\"]\"Aerial Aerial View of People and Their Shadows. Source: inbal marilli<\/u><\/a> via Wikimedia Commons<\/u><\/a>. License: CC0 1.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nHowever, 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.\r\n

Using Elements of Light to Define Form<\/h3>\r\n[caption id=\"attachment_2102\" align=\"alignnone\" width=\"592\"]\"Photograph Labelled Photo of a Pear with a Single Light Source,<\/em> Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nTo 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.\r\n\r\n[caption id=\"attachment_2103\" align=\"alignnone\" width=\"454\"]\"Black Labelled Highlight Section of a Pear with a Single Light Source,<\/em> Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nThe highlight<\/strong> 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\u2019s proximity to the light source.\r\n\r\n[caption id=\"attachment_2104\" align=\"alignnone\" width=\"451\"]\"Black Labelled Light Section of a Pear with a Single Light Source,<\/em> Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nLight<\/strong> 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.\r\n\r\n[caption id=\"attachment_2105\" align=\"alignnone\" width=\"451\"]\"Black Labelled Core Shadow Section of a Pear with a Single Light Source,<\/em> Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nThe core shadow<\/strong> 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\u2019s intricate contours. The core shadow will get lighter as it moves towards the reflected light.\r\n\r\n[caption id=\"attachment_2106\" align=\"alignnone\" width=\"450\"]\"Photograph Labelled Reflected Light Section of a Pear with a Single Light Source,<\/em> Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nReflected light<\/strong> is the area on an illuminated form where the light bounces off a neighboring surface to illuminate a portion of the object\u2019s form shadow. Reflected light is not as strong as direct light.\r\n\r\n[caption id=\"attachment_2107\" align=\"alignnone\" width=\"451\"]\"Black Labelled Cast Shadow Section of a Pear with a Single Light Source,<\/em> Briana Miyoko Stanley, annotated digital photo, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nThe cast shadow<\/strong> 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.\r\n\r\nThe 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.\r\n\r\n\"Photograph \"A\r\n\r\nPear with a Single Light Source Photo Reference and Charcoal Drawing of the Reference,<\/em> Briana Miyoko Stanley, digital photo and charcoal on drawing paper, License: CC BY NC 4.0<\/u><\/a><\/strong>\r\n

Atmospheric Perspective<\/h3>\r\n[caption id=\"attachment_2108\" align=\"alignnone\" width=\"728\"]\"Photograph Atmospheric Perspective of Mountains Example. Source:<\/strong> Mountain View on Pickpik<\/u><\/a>. License: Public Domain Certification 1.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nDrawing 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.\r\n\r\nA technique artists use to create a deep sense of space is atmospheric perspective.<\/strong> 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.\r\n

Value Methods<\/h3>\r\n[caption id=\"attachment_2109\" align=\"alignnone\" width=\"429\"]\"Photograph Additive and Subtractive Charcoal Example,<\/em> Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nWhen drawing, values are created additively or subtractively. The additive process<\/strong> 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.\r\n\r\nOn the other hand, the subtractive process<\/strong> 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.\r\n\r\nThese 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.\r\n\r\nAs 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.\r\n\r\nWhile 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.\r\n

Value Scales<\/h3>\r\n[caption id=\"attachment_2110\" align=\"alignnone\" width=\"641\"]\"Two Gradient and Step Value Scales in Graphite,<\/em> Briana Miyoko Stanley, graphite on drawing paper, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nValue scales<\/strong> 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.\r\n\r\nA step value scale<\/strong> is a progression in value from white to black that occurs in a series of equal increments.\r\n\r\nA gradient value scale<\/strong> is a seamless progression in value from white to black.\r\n\r\n[caption id=\"attachment_2111\" align=\"alignnone\" width=\"645\"]\"A Gradient and Step Value Scales in Charcoal next to a Charcoal Pear Drawing,<\/em> Briana Miyoko Stanley, charcoal on drawing paper, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nValue 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.\r\n\r\n[caption id=\"attachment_2112\" align=\"alignnone\" width=\"818\"]\"A Low Key Value Range Example. Source:<\/strong> art-of-bart<\/u><\/a> via deviantart<\/u><\/a>, License: CC BY-NC-SA 3.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nIf values only span the range from mid-tones to black values, they are referred to as low key<\/strong>. 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<\/strong>. This value range in a drawing can make viewers feel more optimistic and upbeat.\r\n\r\n[caption id=\"attachment_2113\" align=\"alignnone\" width=\"517\"]\"Drawing High Key Value Range Example. Source: via Sagadeev Vladimir (lik13vvs)<\/u><\/a> via Wikimedia Commons<\/u><\/a>. License: CC BY SA 4.0<\/u><\/a><\/strong>[\/caption]\r\n

Value Techniques<\/h3>\r\n[caption id=\"attachment_2114\" align=\"alignnone\" width=\"574\"]\"Drawing Arbitrary Value of Abstract Spheres and Implied Movement Example, Source:<\/strong> AmBr0<\/u><\/a> via deviant art,<\/u><\/a> License:<\/strong> CC BY-NC-SA 3.0<\/u><\/strong><\/a>[\/caption]\r\n\r\nArbitrary Value<\/strong> is a subjective or intuitive response to a subject, rather than observed values.\r\n\r\nHatching<\/strong> refers to closely spaced parallel lines that are added to a form to create value and texture.\r\n\r\n[caption id=\"attachment_2116\" align=\"alignnone\" width=\"654\"]\"A Cross-Hatching Drawing Example, Source:<\/strong> British Library<\/u><\/a> via rawpixel<\/u><\/a>, License: CC0 1.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nCross-hatching<\/strong> 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\u2019s lines cover openings left by the previous layer.\r\n\r\n[caption id=\"attachment_2117\" align=\"alignnone\" width=\"287\"]\"A Gradient Example, Source:<\/strong> Piotr Siedlecki<\/u><\/strong><\/a> via needpix<\/u><\/a><\/strong>, License:<\/strong> CC BY-NC-SA 3.0<\/u><\/strong><\/a>[\/caption]\r\n\r\nA gradient<\/strong> is a smooth and seamless shift in the appearance of value over a given distance.\r\n\r\n[caption id=\"attachment_2118\" align=\"alignnone\" width=\"692\"]\"Three Grayscale Example in Graphite and Ink<\/em>, Briana Miyoko Stanley, graphite and ink on Bristol Board, License: CC BY NC 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nGrayscale<\/strong> is the range of gray tones between black and white.\r\n\r\n[caption id=\"attachment_2119\" align=\"alignnone\" width=\"340\"]\"A Tonal Hand Drawing Example. Study of a Hand<\/em>, A. Mongr\u00e9dien, 1881, charcoal drawing<\/strong>[\/caption]\r\n\r\nSource: Look and Learn<\/u><\/a>, License: CC0 1.0<\/u><\/a><\/strong>\r\n\r\nTonal Drawing<\/strong> 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.\r\n\r\n[caption id=\"attachment_2120\" align=\"alignnone\" width=\"512\"]\"A Scumbling Drawing Example of a Sphere, Source: reinder<\/u><\/a> via Turtletoy.<\/u><\/a> License: CC BY-NC-SA 4.0<\/u><\/a><\/strong>[\/caption]\r\n\r\nScumbling<\/strong> is the value technique of using scribbles to imply changes in light to dark and implied form.\r\n\r\n[caption id=\"attachment_2121\" align=\"alignnone\" width=\"726\"]\"A Simultaneous Contrast Value Example, Source: Paaliaq<\/u><\/a> via<\/strong> Wikimedia Commons.<\/u><\/strong><\/a> License:<\/strong> CC BY-SA 3.0<\/u><\/a>[\/caption]\r\n\r\nSimultaneous Contras<\/strong>t 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.\r\n\r\n[caption id=\"attachment_2122\" align=\"alignnone\" width=\"615\"]\"A Stippling Drawing of a Sphere Example, Source: Kirill Ignatyev<\/u><\/a> via<\/strong>[\/caption]\r\n\r\nFlickr<\/a><\/u>, License: CC BY-NC-ND 2.0<\/u><\/a><\/strong>\r\n\r\nStippling<\/strong> 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.\r\n\r\n[caption id=\"attachment_2123\" align=\"alignnone\" width=\"700\"]\"Photograph Stippling Soft Texture Tiger Drawing Example, Source: Stevep67<\/u><\/a> via deviantart<\/u><\/a>. License: CC BY-NC-SA 3.0<\/u><\/a><\/strong>[\/caption]\r\n\r\n
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Master Artist: Leonardo da Vinci and Light Logic<\/h2>\r\n<\/header>\r\n
\r\n\r\nIn art historical terms, light logic is often discussed using an Italian word: chiaroscuro (\"chiaro\" for light or bright and \"scuro\" for dark). Chiaroscuro<\/strong> 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<\/em> (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<\/em> 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 \u2014 all techniques you are learning!\r\n\r\n[caption id=\"attachment_2124\" align=\"alignnone\" width=\"500\"]\"A Leonardo da Vinci, A Study of a Woman\u2019s Hands<\/em>, 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<\/u><\/a><\/strong>[\/caption]\r\n\r\n\u201cMaster Artist: Leonardo da Vinci and Light Logic.\u201d Written by Chelsea Wright. License: CC BY<\/a><\/strong>\r\n\r\n<\/div>\r\n<\/div>\r\n

Licensing and Attributions<\/h2>\r\n\u201cValue.\u201d Written by Briana Miyoko Stanley.<\/strong> License: CC BY<\/a><\/strong>\r\n

Value Activities<\/h2>\r\n

Value Scales Activity<\/h3>\r\n

Description<\/h4>\r\nFor 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.\r\n

Activity Parameters<\/h4>\r\n

Duration<\/h5>\r\n1-2 Hours\r\n
Size<\/h5>\r\n7x11\u201d (Two 2x9\u201d value scales with a 1\u201d border on all sides.)\r\n
Subject<\/h5>\r\nTwo value scales: one a step scale and the other a gradient scale\r\n
Applied Techniques<\/h5>\r\n