Skip to main content
Humanities LibreTexts

2.2.5: Value Shading Techniques

  • Page ID
    341495
  • \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)

    ( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\id}{\mathrm{id}}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\kernel}{\mathrm{null}\,}\)

    \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\)

    \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\)

    \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)

    \( \newcommand{\vectorA}[1]{\vec{#1}}      % arrow\)

    \( \newcommand{\vectorAt}[1]{\vec{\text{#1}}}      % arrow\)

    \( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vectorC}[1]{\textbf{#1}} \)

    \( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)

    \( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)

    \( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)

    \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)

    Creating a successful value drawing involves more than just understanding the theory; it requires practical skills in applying those principles. This section will guide you through techniques such as gradients, value shading, blending, layering, and texturing, which are vital for rendering realistic drawings.

    Six Ways to Draw Value

    Each key shading technique can be effectively applied using different artistic mediums. Below, each technique is paired with a specific medium, complete with detailed instructions for application.

    Hatching with Graphite Pencil

    • Medium: Graphite Pencil

    • Application Technique:

    • Use a sharpened pencil for precise, thin lines.

    • Draw parallel lines close together, adjusting pressure for varying shades.

    • Ideal for creating gradients and subtle textures in pencil sketches.

    Cross-Hatching with Colored Pencils

    • Medium: Colored Pencils

    • Application Technique:

    • Begin with a layer of straight lines using different colored pencils.

    • Add additional layers at varying angles for depth.

    • Layer colors for a rich, vibrant effect in detailed works.

    Stippling with Ink Pen

    • Medium: Ink Pen

    • Application Technique:

    • Use a fine-tip ink pen for precise dot placement.

    • Apply dots closer together for darker areas and further apart for lighter ones.

    • Suitable for creating texture and depth in ink drawings.

    Scribbling with Colored Markers

    • Medium: Colored Markers

    • Application Technique:

    • Use markers with varied tip sizes for different scribble effects.

    • Apply loose, irregular scribbles to build up color and texture.

    • Effective for expressive, dynamic works with a bold use of color.

    Blending with Chalk Pastels

    • Medium: Chalk Pastels

    • Application Technique:

    • Apply pastel in layers, blending smoothly with a finger or blending tool.

    • Experiment with blending different colors for soft transitions.

    • Ideal for creating painterly textures and soft, gradual color changes.

    Rendering with Charcoal

    • Medium: Charcoal

    • Application Technique:

    • Start with a light outline and establish the light source.

    • Gradually layer and refine shading with soft and hard charcoal.

    • Focus on realistic light and shadow for detailed, dramatic effects.

    By matching these six shading techniques with their respective mediums, artists can explore various effects in their drawings. From the precision of graphite pencils to the expressive potential of colored markers, these methods provide versatility and depth in artistic expression, catering to detailed realism and dynamic abstraction.

    Gradients and Shadows

    As an artist, if you want to take your drawing skills to the next level, then mastering the art of creating gradients and shadows is fundamental. These techniques can help you add depth and dimension to your artwork, making it appear more realistic and eye-catching. Whether you are a beginner or an experienced artist, this comprehensive step-by-step guide will help you learn the art of creating gradients and shadows easily and confidently.

    Step 1: Understanding Your Light Source

    1. Identify the Light Source: Determine the direction and intensity of your light source. This will influence where the highlights and shadows fall on your subject.

    2. Visualize the Effect: Imagine how the light interacts with the object. Which areas receive the most light? Where are the shadows cast?

    Step 2: Setting Up Your Gradient Scale

    1. Create a Value Scale: On a separate piece of paper, create a gradient scale from light to dark using your chosen medium (pencil, charcoal, etc.). This scale should transition smoothly from white (or the color of your paper) to the darkest value you can achieve.

    2. Practice Consistency: Try to achieve a consistent gradient. This practice will help you understand how to control the pressure and blending to create different values.

    Step 3: Sketching Your Subject

    1. Light Sketch: Start with a light sketch of your subject using a hard pencil (like an H or 2H). This step is about capturing the basic shapes and proportions.

    2. Identify Core Shadows: Mark the areas where the core shadows (the darkest parts of the shadow on the object) will be, based on your light source.

    Step 4: Building Up Values

    1. Start with Mid-tones: Using a medium-grade pencil (like HB or 2B), start shading the mid-tones – these are the object's true values as it transitions from light to dark.

    2. Gradual Build-up: Slowly build up the darker values, gently increasing the pressure on your pencil or adding layers of charcoal.

    Step 5: Refining Shadows

    1. Deepen the Core Shadows: Switch to a softer pencil (4B or 6B) and deepen the core shadows. Be mindful of your subject's shape and contour; shadows should follow these forms.

    2. Cast Shadows: Add cast shadows (shadows thrown by the object onto surrounding surfaces). These should be consistent with your light source and can be softer or harder-edged depending on the light's intensity and distance.

    Step 6: Blending and Smoothing

    1. Smooth Transitions: Use a blending stump, tissue, or your finger to gently blend your pencil or charcoal marks. This step is crucial for creating smooth transitions between different values.

    2. Controlled Blending: Be careful not to over-blend, as this can flatten your drawing. The goal is to soften the transitions while maintaining the form and volume.

    Step 7: Final Adjustments and Highlights

    1. Adjust Contrast: Revisit your drawing to deepen any shadows or lighten any mid-tones as needed to achieve the desired contrast.

    2. Add Highlights: Use an eraser or your paper’s white space to create highlights. These should be the areas where the light hits the object most directly.

    Step 8: Evaluating Your Drawing

    1. Step Back: Periodically step back from your work to view it from a distance. This perspective helps in evaluating the overall balance and contrast.

    2. Fine-tuning: Make any final adjustments to ensure that the gradients and shadows accurately represent the form and lighting of your subject. Practice and patience are key to mastering gradients and shadows. As you become more comfortable with these techniques, you can create more nuanced and dynamic drawings that effectively convey light and form.

    Form and Depth

    One of the primary objectives of using value in drawing is to portray form and spatial depth. This section will explore how artists can manipulate value to create the illusion of three-dimensionality and space, making their drawings more realistic and engaging. Using light and shadow to depict form and spatial depth is a fundamental aspect of drawing and painting. It permits artists to convert flat images into lifelike, three-dimensional representations. This technique can be broken down into several key components based on a thorough understanding of how light interacts with objects and spaces.51F 52

    Understanding Form and Light Interaction

    • Concept: Every object has a form, which light reveals through highlights, mid-tones, and shadows. When light hits an object and creates shadows, it affects how we see its shape and position in space.

    • Examples: In still life paintings, for instance, artists often use a single light source to cast defined shadows, highlighting the curvature and angles of objects like fruit, vases, or drapery. Leonardo da Vinci's sketches and drapery studies showcase this, where the interplay of light and shadow defines the folds and creases.

    Highlighting to Indicate Light Source and Form

    • Concept: Highlights are the brightest spots where light directly hits the surface. Highlights are important for showing texture, like how metal shines, or skin looks smooth, and for indicating the shape of an object.

    • Examples: In portrait drawing, artists often place highlights on the tip of the nose, the forehead, cheeks, and chin to suggest the protrusion of these features. Johannes Vermeer’s "Girl with a Pearl Earring" is a classic example of using highlights to create a luminous skin texture and indicate the form of the face and earring.

    Shadow and Core Shadow for Depth and Volume

    • Concept: Shadows are areas where light is blocked by the form of the object, with core shadows being the darkest part of these shadows. They are essential for giving the impression of depth and volume.

    • Examples: Rembrandt’s paintings exemplify their use of core shadow to create depth, as seen in the deep, rich shadows that give his subjects a three-dimensional form.

    Cast Shadows to Anchor Objects in Space

    • Concept: Cast shadows are projected by objects onto other surfaces or themselves. They help anchor objects in their environment and enhance the sense of space and distance.

    • Examples: Edward Hopper's "Nighthawks" uses cast shadows to define the forms within the diner and create a sense of the space and environment surrounding it.

    Gradation and Blending for Realism

    • Concept: The smooth transition between light and dark areas, known as gradation, is crucial for realism. Blending helps create this gradation, avoiding harsh lines unless they are part of the subject's form or texture.

    • Examples: The Renaissance masters, such as Michelangelo and Raphael, utilized gradation exquisitely in their frescoes, where the seamless transition of light and shadow on human forms created an almost lifelike appearance.

    Atmospheric Perspective for Spatial Depth

    • Technique: This involves using lighter values and reduced contrast for distant objects to create an illusion of depth in landscape drawings or paintings.

    • Examples: In many of Claude Monet's landscapes, distant forms are rendered with less detail and lower contrast than those in the foreground, giving a realistic sense of depth and distance.

    The techniques of using light and shadow to depict form and spatial depth are central to creating compelling and realistic artworks. These methods allow an artist to convey not just the subject's physical attributes but also the scene's atmosphere and mood. They require careful observation, understanding of light physics, and skillful manipulation of drawing or painting mediums.

    Applying the Four Light-Related Phenomena.

    This section discusses four essential light-related phenomena crucial in a drawing: highlights, mid-tones, core shadows, and cast shadows. Understanding and applying these concepts is crucial for artists to accurately portray form and spatial depth.

    Highlights

    These are the brightest areas on an object where light sources directly hit its surface, and they play a crucial role in conveying the texture and topography of the subject. In art, highlights are used to indicate the most illuminated parts of a subject, often representing the point of highest curvature closest to the light source. For example, in Johannes Vermeer's "Girl with a Pearl Earring," the highlight on the cheek and pearl earring dramatically conveys the form and texture of her skin and the earring’s smooth surface.

    Mid-Tone

    These are the intermediate values in a drawing that depict an object's true color as it goes from light to dark. They are extremely important in creating depth and volume in art. Artists use mid-tones to show the continuity and curvature of a form as it recedes from the light source. The "Mona Lisa" by Leonardo da Vinci is a masterpiece that exemplifies the use of subtle mid-tones that smoothly transition across the face, giving it a lifelike quality.

    drawing of a cube demenstrating where light goes .png

    "Four Light Related Phenomenon" by Kristen R. Kennedy is licensed CC BY-4.0.

    Core Shadow

    The core shadow refers to the darkest part of the shadow on an object, where the primary light source is completely blocked. It plays a vital role in creating the illusion of depth in a scene. The sharpness, softness, and placement of core shadows are determined by the direction of light and the object's shape. These shadows are crucial in defining an object's form and volume. In Caravaggio's painting, "The Calling of Saint Matthew," the core shadows under the figures' hands and the folds of their clothes provide depth and dimensionality to the scene.5

    Cast Shadow

    Cast shadows are created when an object blocks light, causing a shadow to fall on another surface. These shadows play a vital role in anchoring objects in their environment. The sharpness and value of these shadows depend on the distance between the object, the surface on which the shadow is cast, and the light source. Cast shadows are critical for situating objects within a space and adding to the realism of a scene. For example, in Edward Hopper's famous painting "Nighthawks," the cast shadows from the figures and the diner's elements on the surfaces around them create a sense of late-night atmosphere and depth.


    2.2.5: Value Shading Techniques is shared under a CC BY-SA 4.0 license and was authored, remixed, and/or curated by LibreTexts.