Acquire essential skills in rendition of value.

Understand the importance of tonal value in drawing.

Use all techniques of tonal value.
The concept of tonal value may seem ” but it is also one of the most important
concepts in art. It seems easy, but it is difficult in practice. Why? Because “tonality” is an optical phenomenon and,
as any optical illusion, it is perceived as “not real”. Our brain does not recognize it. For the human beings, color is
important (we choose clothes by color; we judge fruit by how ripe it is, etc.), but noticing the tone often seems
useless and unnecessary. We assign significance to distinguish the green traffic light from the red one but, we
don’t care of which is darker or lighter. It does not even occur to us to compare.

Value dominates our visual experience. It is the strongest element of visual contrast and largely determines our
perception of form as we explore a picture. It defines our perception of space through the luminance differences
between the lighted and dark surfaces of three-dimensional objects and long-distance effects of aerial
perspective. Even in an abstract or pattern design, lightness dominates hue as the patternmaking element in a
picture.

This module provides an avenue to answer the following questions:

• Why is it important to study rendition of tonal value?

DEEPEN YOUR UNDERSTANDING

The concept of seems easy. Identifying a color requires no effort at all – we

can determine the color of an apple at a glance. On the other hand, distinguishing the
tonal value of the pear (how dark or how light it is) requires a certain effort. We need
to compare it to something else, seeing it in relationship to other colors. We can only
notice object’s tonality through intentional looking and only by holding it in the same
gaze with something else but, Do you know that even experienced artists need to
remind themselves to look at the tonal value of color? Tonal value is the brain’s
1. Why is it important to
study rendition of
In order for an artist to remember gazing in this we must learn tonal value?
to become aware of tonality’s existence, because tonal value is naturally and
instantly, without on our awareness, by our brain. Our brain, early on in
our life, learns to ignore tone because it is not information that matters
for our safety or survival. In early childhood, we un-learn to see; gets replaced
with So, the artist has to re- learn to see.

https://www1.udel.edu/artfoundations/drawing/value.html
 almost never comes from an art student intuitively; a teacher has to introduceit. Tone is what
you don’t know, you don’t know. This is the case of when “what you don’t know” becomes the chasm between
your vision and your ability to effectively communicate that vision to your viewer.

A person, who never had any formal training in fine art, may be skeptical about the necessity of such formal
training, or the validity of “artistic seeing”, or the complexities of the tone. There is a common opinion about
artists in general: Approximately, from this point, some further attempts to explain why the non-artist is blind to
tonal values, as this will meet resistance from your brain. Unless, you are engaged in drawing or painting, your
brain will be “annoyed” with further explanations, seeing them as a slightly absurd, pretentious, ambiguous and
gibberish.

In a nonessential are limited, and only those lines which indicate a change of form are
emphasized. Although, all drawing is representational. The difference between a pure line drawing and a drawing
utilizing tone is only one of degree of abstraction, a drawing with tonal value normally conveys more information
about the object drawn. Living in a world of light, we find that a change in tonal value is the basis for our
perception of forms.

A blank piece of white paper is directionless, limitless, without dimension, infinite in depth. Once we place an
area of value or tone on it, the sheet gains dimension and direction.

Two spots of equal area and intensity (degree of blackness) appear to lie in the same place.

If the intensity of one is reduce, however, it usually appears to recede, while the darker one advances, due to its
greater contrast with the white field. This change in value can communicate spatial depth visually.

Likewise, two rectangle of equal line weight appear to be in the same place. Again, as we increase the line
weight of one, it appears to advance, while the other recedes.
 refers to the various degrees of light and shadow. Values allow us to perceive the three-
dimensionality of objects because value correspond to planes of form.

For example, if we look at each plane of the hexagonal volume to the right, each has a value different from the
other. Theoretically, the values are all different because each plane has a distinct and unique relationship to the
light conditions.

When our volume becomes a sphere, we see that the planes of the hexagon meld into a smoothed-out surface of
an infinite number of indistinguishable planes. Theoretically again, the sphere should then display an infinite
number of values.

The more values we describe, the more descriptive we can be of forms as a whole.

Note that the darkest dark in the drawing of the sphere occurs in the cast shadow. Also note that the lightest light
is the white of the page. Once we establish the two extremes of light and dark, we can pull out a full range of
values between them.

In the examples below, examine the range of values (darkest dark to lightest light), the consistency of light across
the page, and the legibility of forms relative to the light source or sources. Where is light coming from and which
planes face the light and which face away?

https://www1.udel.edu/artfoundations/drawing/value.html

Careful attention must be paid to line quality (clarity, consistency, continuity) and proper
line- weight differentiation and hierarchy.
 • Cut lines
• Profile lines (silhouettes)
• Transitions in forms (corners)
• Surface textures
• Material changes

Whenever a tonal technique is employed, the discernible changes in

value (through the rendition of materials, textures, shaded surfaces, and shadows) can by themselves imply
the lines which normally define spatial edges and planar corners.

When changes in value are not rendered discernibly, the spatial edges and planar corners of a form must
be reinforced by a line technique.

• Color is nothing, tone is everything; when I run out of red, and I paint
it blue.
• To see the tonal value, you must turn off your brain.
• We see not what we see, but what we think we see.
• This white does not look white; if you make it less white, it will look
whiter.
• Dark colors in the light are lighter than light colors in the shadow.
 DRAWING TIME

Illustrate/draw nine (9) boxes with the measurement of 2.5cm x 2.5cm. Apply the different techniques in tonal
value and rendering.

1. Oslo paper
2. Pencil (HB, 6B, Mech. Pencil)
3. Triangle (any of the following : 45 by 90 or 30 by 60 triangle)

Place your oslo paper horizontally on your drawing board and secure it using a masking tape.
Use the same format in making border and guidelines from the lesson 1.
Write the needed information following the given format.
Be guided by the following rubrics.

The output was accurately done.

Two to five errors are observed on the output.
Six to ten errors are observed on the output.
No errors made on the output.
Two to three errors are made on the output.
Four or more errors are made on the output.
All information’s are completely indicated and legibly printed.
Information’s are legibly printed but some are missing.
Information’s are legibly printed but some are misspelled.
The output submitted before or on the given time.
The output submitted 1 to 2 days after the given time.
The output submitted 10 days beyond the given time.
 Write if the statement is correct, otherwise write . Write your answer in the space provided
below. Write your answer in . (1-10).

This change in value can communicate spatial depth visually.

Two spots of two area and intensity (degree of blackness) appear to lie in the same place.
Once we place an area of value or tone on it, the sheet gains dimension and direction.
Decrease the line weight of one, it appears to advance, while the other recedes.
Dark colors in the light are lighter than light colors in the shadow.
Shadow is nothing, tone is everything, when I run out of red, and I paint it blue.
We see not what we see, but what we think we see.
A blank piece of white paper is directionless, limitless, without dimension, infinite in width.
This change in value can communicate spatial depth mentally.
To see the tonal value, you must turn off your brain.
 REFERENCES

Frank Ching, (1996). Architectural Graphics third edition, A Division of International Thompson Publishing Inc. 90-111

Nikusha Beatty, (2018). Beginner artists, Blog, Deep learning, Drawing, Painting, teaching, Prima Materia Institute

Value (Tone). (2022). Retrieved 10 January 2022, from https://www1.udel.edu/artfoundations/drawing/value.html

https://www1.udel.edu/artfoundations/drawing/value.html

: Mr. Jefrey C. Mendoza

: Mr. Jefrey C. Mendoza

Mrs. Timmy Anne A. Lopez-Garcia

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