An Introduction to Value

Design & Communication | ARTS102

An Introduction t Value

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Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS10

Design & Communication: Value THE ELEMENT OF VALUE

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VISUAL COMMUNICATION - OVERVIEW What is the design element of Value? Value refers to the lightness or darkness of a color or tone relative to the colors or tones around it. It is basically light and dark. Tones that are closely related to each other in value, that is, not having a great difference between them, are considered to have low value contrast. If there is a strong difference between the two it is considered high value contrast.

Full Value Rang A full value range is often used by the artist to convey excitement, power, or drama. View the drawings on this page and the next based on photographs by Robert Longo

“Monsters,” Robert Longo, Charcoal on Paper, 2008

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Brooklyn-based artist Robert Longo, seen here made these incredible drawings of massive thundering waves using just charcoal (on mounted paper). Called Monsters, the drawings almost look like black and white photos

“Monsters,” Robert Longo, Charcoal on Paper, 2008

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Chiaroscuro

Value can create pattern and be used to create volume and space. The word Chiaroscuro describes using strong value contrasts to create depth and also visual drama in a drawing. The drawing below by Michelangelo is a good example of this concept. Notice in this study of Madonna and Child that the full value range of the infant makes it stand out and have a strong sense of dimension compared to the linear drawing of the mother.

“Madonna and Child,” Michelangelo, Black and red Chalk on paper, 1522-25

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Subtle differences in the treatment of light and of composition can render vastly different effects. In the Johannes Vermeer painting the soft, indirect northern light brings a gentler contrast to the gures, which, with the serene formal compositions creates an image of domestic calm and ease.

The painting by Caravaggio is aggressive, tense, and disconcerting, not only for their subject matter but for the high contrast, strong light, and diagonally based composition. This combination is active and strong, and the dynamic of the image is that of con ict or negative emotion. It also re ects the warm Mediterranean light Caravaggio worked in living in southern Italy.

“Deposition of Christ from the Cross,” Caravaggio, Oil on Canvas, ca. 1600 Woman in Blue Reading a Letter, Johannes Vermeer, oil on canvas, ca. 1660.

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Value and Line

Line can be an element along with value, enhancing the existing values and visual textures. This Rembrandt ink wash drawing below demonstrates how pure value and line can be used together to create not only strong contrast but expressive character as well. The gestural nature of the line is augmented by the simple placements of value in the image. The same can be said in reverse for the Diebenkorn ink wash drawing presented here as almost a “negative” image

“Lion Resting,” Rembrandt van Rijn, ink on paper.

“Seated Woman,Umbrella” Richard Diebenkorn, ink on paper, 1967.

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Value without Line

Compositions can be created without line at all, using variations of value as the only means of defining shapes and edges. The example of the Georges Seurat drawings shows the dark contrast in the foreground, and the other elements receding in space and definition through diminishing contrast in these pointillist technique drawings.

“Three Young Women,” Georges Seurat, conte on paper, 1885

“At the European Concert,” Georges Seurat, conte on paper, 1886

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Georges Seurat, conte on paper, 1886

Value Range As we have seen the tonal ranges selected by the designers will create moods or ambiences in the imagery that are universally perceived. Dark images can create images of sadness or mystery, where light tonal ranges tend to favor happy or positive connotations. In the painting “Childhood Idyll” , seen left, William Bouguereau treats the subjects, clothing, and background with light values, adding to the gentleness of the image of children daydreaming.

The contemporary photogram by James Welling, right, is light and airy, using the shapes of owers exposed directly on photo paper to create peaceful organic images

“Childhood Idyll,” William Bouguereau, oil on canvas, 40” x 51,” 1900.

019, James Welling, C-print, 48 x 37,” 2008

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Value and High Contrast Value can be reduced from a full gradation of dark to light to a more high contrast image for visual effect. In the poster for the movie “The Man With the Golden Arm” designer Saul Bass used solid blocks of dark values and high contrast gures looking into the center of the image to establish his focal point on the title of the lm. It also directs attention to the wrenched arm that is used as a symbol for the heroin addiction portrayed in the lm.

Poster for The Man with Golden Arm, Saul Bass, 1955.

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Comparing and Contrasting HOW ARTISTS USE VALUE DIFFERENTLY

Frank Miller & Ansel Adam Here we can see how different artists in different media handle value contrast differently, with different purposes, and achieve impressive but entirely different results.

Frank Miller is a Graphic Novelist, known for series like Sin City, 300, and The Dark Knight.

He works with drawing media, primarily black and white only, with the occasional exception of a color for accent. The beautiful drawings, almost abstract in their simplicity, rely on the hard black/white contrast of value to de ne characters and relate the narrative.

First, view drawings from Frank Miller from his Sin City series left and next page

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C H AValue PTER 2 Compare & Contrast: Frank Miller & Ansel Adams

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Compare & Contrast: Frank Miller & Ansel Adams Compare this simple high-contrast imagery with the Continuous tone imagery of photographer Ansel Adams, right. The master of a full dynamic range, Adams created a system of exposure where the brightness range of the image to be photographed is repeated on lm or in the digital camera. This is called the zone system. The objective of using the Zone system is to match output to the tonalities the designer foresaw, or “visualized.” The dramatic range of space and detail is evident in these Adams images.

Notice that almost every tone from black to white and all grays in between are represented in the image, giving a great deal of realism and depth to the photographs.

Their extreme naturalism is a strong contrast to the harsh abstraction of the Miller drawings. Both artists work with value and exploit different characteristics of the design element to further their own artistic vision

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C H AValue PTER 2 Compare & Contrast: Frank Miller & Ansel Adams

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Objectives • Begin to visually communicate range of VALUE in a composition • Use research to communicate an artists styl • To continue to develop conceptual skills and critical thinking in design

Helpful Tips Please refer to your software instructions or use the Adobe help website.

Build on your knowledge from previous assignments and any use any additional tools you fee comfortable with. Please be sure to view videos provided for you in the folder. Please research Stuart Davis works for some suggestions on style and design (examples will be provided).

ASSIGNMENT PART 1: For this assignment, you will be asked to rst, create a value scale with a total of 8 values. Second, you will create an abstract cubist design based on research of Stuart Davis.

ASSIGNMENT PART 2 Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation

Please open a new document, or use a plain sheet of paper. Develop a value scale with 8 tones of value (your choice of color or black/white, use of digital or traditional tools is acceptable). Next, create a second document for a derivative work based in abstract cubist design in the style of Stuart Davis. Google his history and collection of works; see also the samples provided. Create your design with a variety of geometric and organic shapes. Vary the size and placement. Shade in all your shapes with the different values you developed on your scale. As an example, think how you might develop a paint by number

1. Tell me more about Stuart Davis, what did you nd in your research 2. How did you use Balance? How did you use Shape 3. What do you like about your nished art 4. What can you do better next time This assignment is worth 20 points.

• You may choose a single color , such as red, green or black for your value scal • Use only the values you have developed on your value scale for your design • Overlap shapes on your cubism design for added interes • Use your full range of value developed on the scale • Balance your image with good placement of visual weight

Here is the rubric for the assignment

Save the le as jpeg, png or pdf and upload to the assignment dropbox provided for Value

Please let me know if you have any questions. Enjoy!

• following directions (25%) • inclusion of self evaluation (25%) • understanding of lesson concepts (25%) • creativity; clear, effective use of visual communication (25%

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A S S I G N M E N T : VA L U E