tone & texture
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TONE & TEXTURE
TONE & TEXTURE• WHILE LINES ARE ESSENTIAL TO THE TASK OF DELINEATING
CONTOUR AND SHAPE;
• WE RELY ON THE RENDERING OF TONAL VALUES, IN ORDER TO ACCENTUATE SHAPE, LIGHT, MASS AND SPACE.
TONE & TEXTURE
• THROUGH A COMBINATION OF LINES AND TONAL VALUES, WE CREATE THE TACTILE SENSATION AND APPEARANCE WE CALL ‘TEXTURE’
TONAL VALUE
• THE PATTERNS OF LIGHT AND DARK IS ESSENTIAL TO OUR PERCEPTION OF OBJECTS:
• DARKER AREAS OCCUR WHERE THERE IS AN ABSENCE OF LIGHT;
• LIGHTER AREAS OCCUR WITH THE
REFLECTION OF RADIANT ENERGY
ONTO ILLUMINATED SURFACES
TONAL VALUE• CREATING TONAL VALUES: USE TRADITIONAL MEDIA OF
PENCIL AND PEN/INK TO MAKE DARK MARKS ON A LIGHT SURFACE
• THERE ARE (4) BASIC TECHNIQUES FOR CREATING TONAL VALUES:
(1) HATCHING (3) SCRIBBLING
(2) CROSSHATCHING (4) STIPPLING
HATCHING• CONSISTS OF A SERIES OF PARALLEL LINES,
• WHEN SPACED CLOSELY, THE LINES LOSE THEIR INDIVIDUALITY AND MERGE TO FORM A TONAL VALUE
• THEREFORE, WE RELY PRIMARILY ON THE
SPACING AND DENSITY OF LINES TO CONTROL
THE LIGHTNESS OR DARKNESS OF A VALUE
HATCHING
• MAINTAINING THE DIAGONAL DIRECTION OF THE
STROKES IS KEY, IN ORDER TO AVOID CONFUSION WITH
THE UNDERLYING DRAWING AND UNIFIES THE VARIOUS
TONAL AREAS OF A DRAWING COMPOSITION
• USE CONSTRUCTION LINES TO DESCRIBE
CONTOUR AND SHAPE IN A PURE-TONE
DRAWING
CROSSHATCHING
• UTILIZES 2 OR MORE SERIES OF PARALLEL LINES
TO CREATE TONAL VALUES
• THE SIMPLEST CROSSHATCHING CONSISTS OF 2 PERPENDICULAR SETS OF PARALLEL LINES
• USE 3 OR MORE LAYERS PROVIDE A GREATER RANGE OF TONAL VALUES AND SURFACE TEXTURES
CROSSHATCHING• WE OFTEN COMBINE HATCHING AND
CROSSHATCHING INTO A SINGLE TECHNIQUE
• WHILE SIMPLE HATCHING CREATES THE LIGHTER RANGE OF VALUES IN A DRAWING, CROSSHATCHING RENDERS THE DARKER RANGE
SCRIBBLING
• IS A FREEHANDED SHADING TECHNIQUE THAT
INVOLVES DRAWING A NETWORK OF RANDOM, MULTIDIRECTIONAL LINES
• BY MAINTAINING A DOMINANT DIRECTION, WE PRODUCE A GRAIN THAT UNIFIES THE VARIOUS AREAS AND SHADES OF VALUE
SCRIBBLING• THE STROKES MAY BE BROKEN OR CONTINUOUS,
STRAIGHT OR CURVILINEAR, JAGGED OR SOFTLY UNDULATING
• AS WITH HATCHING, WE MUST PAY ATTENTION TO BOTH SCALE AND DENSITY OF THE STROKES, AND BE AWARE OF THE QUALITIES OF SURFACE, TEXTURE, PATTERN, & MATERIAL THEY CONVEY
STIPPLING
• A SHADING TECHNIQUE BY MEANS OF VERY FINE DOTS. THE BEST RESULTS OCCUR WHEN USING A FINE-TIPPED INK PEN ON A SMOOTH DRAWING SURFACE
• APPLYING STIPPLING IS A SLOW & TIME-CONSUMING PROCEDURE THAT REQUIRES PATIENCE & CARE IN CONTROLLING THE SIZE & SPACING OF THE DOTS
STIPPLING
• SINCE THERE ARE NO CONSTRUCTION LINES TO DESCRIBE CONTOUR AND SHAPE IN A PURE-TONE DRAWING;
• WE RELY ON A SERIES OF DOTS TO PROFILE SPATIAL EDGES AND DEFINE THE CONTOURS OF FORMS.
• USE TIGHTLY SPACED DOTS TO DEFINE SHARP
EDGES, AND A LOOSER SPACING OF DOTS TO
IMPLY SOFTER, MORE ROUNDED CONTOURS.
VALUE SCALE• WHITE REPRESENTS THE LIGHTEST POSSIBLE VALUE AND
BLACK THE DARKEST VALUE
• IN BETWEEN EXISTS A “RANGE OF GRAYS”
• THIS RANGE IS REPRESENTED (BELOW) BY A GRAY VALUE OF (9) GRADATIONS FROM WHITE TO BLACK
MODELING• REFERS TO THE TECHNIQUE OF RENDERING THE ILLUSION OF
VOLUME AND DEPTH (3D) ON A 2-DIMENSIONAL SURFACE BY MEANS OF SHADING WITH TONAL VALUES
– DARK AREAS CAN APPEAR TO RECEDE INTO THE DEPTH OF THE DRAWING SURFACE
– LIGHT AREAS CAN EMERGE FROM A DARK BACKGROUND LIKE MOUNDS RISING FROM THE EARTH
MODELING• EDGES HELPS US RECOGNIZE SHAPE;
• WE LOOK TO EDGES TO DISCOVER THE SURFACE CONFIGURATION OF A 3-DIMENSIONAL FORM
• THERE ARE MAINLY (2) TYPES OF EDGES: HARD AND SOFT
MODELING• HARD EDGES DELINEATE SHARP BREAKS IN FORM OR
DESCRIBE CONTOURS THAT ARE SEPARATED FROM THE BACKGROUND
MODELING• SOFT EDGES DESCRIBE VAGUE BACKGROUND SHAPES,
GENTLY CURVING SURFACES AND ROUNDED FORMS, AND AREAS OF LOW CONTRAST
MODELING• WE CREATE SOFT EDGES WITH A GRADUAL CHANGE IN
TONAL VALUE OR DIFFUSE TONAL CONTRAST
MODELING• WE CAN CREATE ANY SHAPE AND FORM USING BOTH HARD
AND SOFT EDGES
CONVEYING LIGHT• LIGHT IS THE RADIANT ENERGY THAT ILLUMINATES OUR
WORLD AND ENABLES US TO SEE 3-DIMENSIONAL FORMS IN SPACE
• WE DO NOT ACTUALLY SEE THE LIGHT BUT RATHER THE EFFECTS OF LIGHT
CONVEYING LIGHT• TONAL VALUE IS THE GRAPHIC EQUIVALENT OF SHADE AND
SHADOW;
• AND CAN ONLY INDICATE LIGHT BY THE DESCRIBING ITS ABSENCE
CONVEYING LIGHT• WHEN LIGHT STRIKES AN OBJECT, IT CREATES A LIGHT SIDE, A
SHADED SIDE, AND A CAST SHADOW
CONVEYING LIGHT• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION
OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID, THE SPHERE, THE CONE, AND THE CYLINDER
• WE MUST UNDERSTAND HOW LIGHT ILLUMINATES EACH OF THE FUNDAMENTAL SOLIDS, AND ITS LIGHT-DARK PATTERNS, IN ORDER TO RENDER THE EFFECTS OF LIGHT ON MORE COMPLICATED SHAPES AND FORMS
CONVEYING LIGHT• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION
OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID, THE SPHERE, THE CONE, AND THE CYLINDER
LIGHT VALUES OCCUR ON ANY SURFACE TURNED TOWARD THE LIGHT SOURCE
CONVEYING LIGHT• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION
OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID, THE SPHERE, THE CONE, AND THE CYLINDER
TONAL VALUES SHIFT AS A SURFACE TURNS AWAY FROM THE LIGHT SOURCE, WITH INTERMEDIATE GRAY VALUES
CONVEYING LIGHT
HIGHLIGHTS APPEAR AS LUMINOUS SPOTS ON SMOOTH SURFACES
SHADE REFERS TO THE DARK VALUES OF SURFACES AWAY FROM THE LIGHT SOURCE
AREAS OF REFLECTED LIGHT LIGHTEN THE TONAL VALUE OF A SHADED SURFACE
SHADOWS ARE THE DARK VALUES CAST BY AN OBJECT UPON A SURFACE
LIGHT, SHADE & SHADOW• THE CLARITY AND TONAL VALUE OF SHADED SURFACES AND
CAST SHADOWS PROVIDE CLUES TO THE QUALITY OF THE LIGHT SOURCE
BRILLIANT LIGHT PRODUCES STRONG LIGHT-DARK CONTRASTS WITH SHARPLY DEFINED SHADOWS
DIFFUSED LIGHT CREATES LESS VALUE CONTRAST BETWEEN LIT SURFACES AND SHADOWS
LIGHT, SHADE & SHADOW• CAST SHADOWS DISCLOSE THE RELATIVE POSITION OF
OBJECTS IN SPACE
CAST SHADOWS ANCHOR AN OBJECT TO THE SURFACE ON WHICH ITS SITS
LIGHT, SHADE & SHADOW• CAST SHADOWS DISCLOSE THE RELATIVE POSITION OF
OBJECTS IN SPACE
EVEN WHEN FORMS ARE HIDDEN FROM VIEW, THE SHADOWS THEY CAST CAN REVEAL THEIR SHAPE
LIGHT, SHADE & SHADOW• SHADED SURFACES ARE OFTEN LIGHTER IN VALUE THAN
SHADOWS
CAST SHADOWS ARE DARKER WHERE THEY MEET A SURFACE IN SHADE, BECOMING LIGHTER TOWARD ITS OUTER EDGES
DEFINE THE OUTER EDGES OF SHADOWS WITH A CONTRAST IN VALUE, NEVER WITH A DRAWN LINE
LIGHT, SHADE & SHADOW• AREAS OF SHADE AND SHADOW ARE ALMOST NEVER
UNIFORM IN VALUE !!!
MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES
MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES
MAPPING INVOLVES BREAKING DOWN ALL AREAS OF LIGHT, SHADE AND SHADOW THAT WE SEE ON A SUBJECT OR IN A SCENE INTO DEFINITE SHAPES
MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES
MAPPING INVOLVES BREAKING DOWN ALL AREAS OF LIGHT, SHADE AND SHADOW THAT WE SEE ON A SUBJECT OR IN A SCENE INTO DEFINITE SHAPES
DECISIVENESS IS NECESSARY
MAPPING VALUES• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS INDISTINCT, WE MUST IMPOSE BOUNDARIES
MAPPING INVOLVES BREAKING DOWN ALL AREAS OF LIGHT, SHADE AND SHADOW THAT WE SEE ON A SUBJECT OR IN A SCENE INTO DEFINITE SHAPES
DECISIVENESS IS NECESSARY
USE CONSTRUCTION LINES
MAPPING VALUES• MAPPING REQUIRES REDUCING THE MANY TONAL
VARIATIONS THAT WE SEE INTO JUST A FEW
WE BEGIN BY SORTING THE RANGE OF TONAL VALUES INTO TWO GROUPS: LIGHT AND DARK; OR THREE GROUPS: LIGHT, MEDIUM AND DARK
TEXTURE• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A
TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE
WE USE THE TERM TEXTURE MOST OFTEN TO DESCRIBE THE RELATIVE SMOOTHNESS OR ROUGHNESS OF A SURFACE
TEXTURE• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A
TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE
WE USE THE TERM TEXTURE MOST OFTEN TO DESCRIBE THE RELATIVE SMOOTHNESS OR ROUGHNESS OF A SURFACE
IT CAN ALSO DESCRIBE THE CHARACTERISTIC SURFACE QUALITIES OF FAMILIAR MATERIALS: STONE, WOOD GRAIN, WEAVE OF A FABRIC
TEXTURE• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A
TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE
OUR SENSES OF SIGHT AND TOUCH ARE CLOSELY INTERTWINED.
AS OUR EYES READ THE VISUAL TEXTURE OF A SURFACE, WE OFTEN RESPOND TO ITS APPARENT TACTILE QUALITY WITHOUT ACTUALLY TOUCHING IT.
TEXTURE• THE SCALE OF THE STROKES OR DOTS WE USE TO CREATE A
TONAL VALUE, RELATIVE TO THE SIZE OF THE TONED AREA AND THE DRAWING COMPOSITION, INHERENTLY CONVEYS THE VISUAL TEXTURE OF A SURFACE
TEXTURE• VISUAL TEXTURE CAN ALSO RESULT FROM THE INTERACTION
BETWEEN SMOOTH AND ROUCH DRAWING SURFACE
TEXTURE• CONTRAST, SCALE, DISTANCE, AND LIGHT ARE IMPORTANT
MODIFYING FACTORS IN OUR PERCEPTION OF TEXTURE AND THE SURFACES THEY ARTICULATE
TEXTURE• CONTRAST INFLUENCES HOW STRONG OR SUBTLE A
TEXTURE WILL APPEAR TO BE:
- A TEXTURE SEEN AGAINST A COARSE BACKGROUND WILL APPEAR TO BE FINER AND SMALLER IN SCALE
- WHEN SEEN AGAINST A UNIFORMLY SMOOTH BACKGROUND, THE TEXTURE WILL APPEAR MORE OBVIOUS.
COARSE BACKGROUNDSMOOTH BACKGROUND
TEXTURE• THE RELATIVE SCALE OF A DRAWING DETERMINES WHETER
WE READ A TEXTURE AS BLADES OF GRASS, A FIELD OF GRAIN, OR A PATCHWORK QUILT OF FIELDS
TEXTURE• LIGHT INFLUENCES OUR PERCEPTION OF TEXTURE:
-SMOOTH SHINY SURFACES REFLECT LIGHT BRILLIANTLY AND APPEAR SHARPLY IN FOCUS
-SURFACES HAVING A MATTE TEXTURE ABSORB AND DIFFUSE LIGHT UNEVENLY, THEREFORE APPEAR LESS BRIGHT