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By learning a few of the universal truths about value and planes, you can model any
"
natural form much more easily. I by Jon deMartin
he previous installments of Drawing value is the natural color of an object without any
T Fundamentals on drawing the cube, the cylin
der, and the sphere (with line only) stressed
the importance of drawing the object's outlines correct
thought oflight and shade or three-dimensional
form. When we look at a white shirt, we know it's
white even though it may also contain different val
ly before modeling form with value. They emphasized ues created by light and shadow. We still describe
the importance of both linear construction and per the shirt as being white. It is the same with a gray
spective, These factors must come before shading. In shirt or a black shirt. It's easier to see local values
other words, all the beautiful shading in the world will when the light is diffused or when the form's sur
never disguise a poorly drawn object. "The art of delin face is not facing direct light. In other words, it's
eating figures is the foundation ofpainting, without easier to see the trUe value of your front door when
which, no matter how well one understands color and it's not flooded by direct sunlight. For instance, in
light and shadow, it is impossible to do anything good Illustration 2, the local values of the white cube, gray
in painting," said Roger de Piles in his Elements de la sphere, and black cylinder are clearly seen because
Peinture Pratique. of the dispersed light.
Value Value as Planes
The outline reveals the object's shape and its three The primary role of value is to produce the illusion
dimensional construction. But it is through the use of the third dimension on a two-dimensional sur
of values that the object begins to take on a more face. The most effective way to create the third
natural appearance, Values are the way we see our dimension is through the concept of planes. Planes
world. Accordingly, artists use values to translate are inclinations of surfaces on forms that are con
light and shadow into shading, thus creating the illu ceived as being flat or faceted. Planes are for the
sion of the third dimension. But what is value? most part a concept~they really don't exist in
Value is the degree oflightness and darkness in a nature, especially on rounded forms. However, the
given color. In drawing terms we think of values as concept of planes helps the artist visualize form and
shades of gray between black and white, simplify the infinite varieties and complexities of a
form's surfaces, Let's take a look at the effect oflight
The Value S~e and Value as Local Value on a form's planes.
The value scale is to art what a scale of notes is to Illustration 3 shows a neutral-gray card scored
music. The value scale gives the artist a means to in nine equidistant segments lying flat on a two
handle the infinity of values in our world. It enables dimensional surface. Notice that the values are basical
the artist to make better comparisons and suggest ly unchanging because of the card's flatness in relation
the relationships of the values observed in nature. to the light source. Illustration 4 shows the same neu
What do we mean when we say local values> A local tral-gray card with the light positioned above. The gray
38 DRAWING
BOTTOM LEFT BOTTOM ·RIGHT
OPPOSITE PAGE BELOW
Illustration 2 Illustration 3 Illustration 4
Illustration 1
This photo shows how When a neutral-gray card (right) is scored in nine When the same neutral-gray card is bent outward
A nine-value scale with and the light source is placed above it, the planes
seven gradations of one can more easily see equidistant segments lying on a flat surface, the
the local value of objects values are largely unchanging because of the card's show how the value changes according to its
gray between white orientation to the light.
and black. in a "flat" light condition. flatness in relation to the light source.
9 High Light
8 Light Light
1 Middle
Light
6 Dark Light'
5 Light
; Halftone
4 Dark
Halftone
3 Middle
Shadow
2 Dark
Shadow
1 Accent
Illustration 5 Illustration 6 Illustration 7
The value scale showing the names of the
Alineardia~ram of the A three·quarters view
nine modeling factors used to provide a
gray card shown in of the gray card.
nomenclature for describing value. Illustration 4,
40 DRAWING
Top Plane
card is now cwved outward revealing the planes
or facets of the form in space. See how each facet
clearly changes value according to its orientation
to the light. Notice how the faceted card looks
strikingly similar to the flat local-value scale to the
left. The two illustrations dearly exhibit the rela
tionship between value as local changes and
value as plane changes.
Value as Nomenclatwre:
the Mooeling Factors
What do we mean by value as nomenclature?
The dictionary defines nomenclature as a system Illustration 8
of terms used in science and art. It simply A synthesized version of
means putting names to things. Whether we the nine-faceted card,
Side Plane simplified to show the
are seeing value as a local value or value as a three main plane
changes-top, side,
plane, it gives us an advantage if we can and under.
describe what we are seeing with names. In
other words, if we know what we are looking at,
we are more likely to see it.
Illustration 5 shows a linear diagram of the
value scale shown in Illustration I with the
names of each value that gradate from dark to
light. The value names described here are called
the modelingJactors. They name the different
degrees of lightness and darkness. "The model
ing factors are the planes, or facets of forms,
which present themselves to the illumination at
different angles, thereby producing different val
ues," artist and teacher Frank Reilly once said.
Under Plane
Just as it's important to describe the values
we are seeing with a name, it's even more
important to describe-and better yet,
visualize-the plane's direction in space. If we
don't consider the planar direction in space
before attributing a value, the drawing will look
flat and copied. The ability to visualize views
other than the one you're working from will dra
matically help you conceptualize plane directions in space. ous to name, we need to simplifY what we are seeing. When
Illustration 6 shows a linear diagram of the curved, faceted we can distill the many facets (planes) into a more manage
card from Illustration 4 from the side view. Notice the sym able number, the planes become more comprehendible.
bol indicating the position of the light SOUTce. To understand Illustration 8 is a synthesized version of the nine-faceted
light on form, the artist must consider from what direction card shmving three main plane changes: top. side, and
the light falls upon the object. The part of the object that has under. It now becomes easier to describe the planes' direc
the light most perpendicular to it must be lightest. As the tion when we say the plane is top. side, or under. Even when
planes turn away from the light, they darken. forms have rounded surfaces we can say the forms surface is
Illustration 7 shows the same faceted card but from a top-ish, side-ish or under-ish. "Ish" is the key word. It helps
three-quarter view. There are nine individual segments show the artist describe the complexities of the form's infinite and
ing nine different planes. Because the planes are too numer- varied surfaces. Illustration 9 shows plane A perpendicular
Light
Source
I.
B D
I
Illustration 9
Note how Plane A is the lightest,
whereas Plane B is darker
because it is less than 90
degrees from the light source.
Plane C is darker than B because
the angle diminishes further.
Plane D is in shadow.
LEFT
lIIustration 10
The same planes, now showing
the modeling factors of Light
light, Middle Light, and Dark
Light.
OPPOSITE PAGE
Male Academy
by Jon deMartin, 1987, charcoal,
24 x 18. Collection the artist.
to the angle oflight-it is the lightest. Plane B is darker Academy shows a straight-on back view of a seated nude.
because it meets the light at an angle less than 90 degrees. Notice how the back curves outward the same way the
Plane C is darker than B because the angle diminishes faceted card does. The dynamics of light on form respond
more. D is in shadow. Illustration 10 depicts a three-quarter in the same way. The part of the upper back nearest the
view showing the shadow side and the modeling factors light is brightest. Why? The plane is top-ish in relation to
Light Light, Middle Light, and Dark Light as they relate to the light s~urce. As the planes move from top to side to
the top, side and under planes. The right side of Illustration under, they darken in degrees.
10 shows the same form from the front view. The human form is the most difficult form to modeL
These universal concepts hold true no matter what However, by applying these universal truths, you will work with
forms in nature we are modeling. My drawing Male more intelligence no matter what subject you're drawing. .:.
,
42 DRAWING
~I
