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1 '~_~ ~~~:~c,' " _ ~,~..,"'..., 1"1' :-' ',1, ~ By learning a few of the universal truths about value and planes, you can model any " natural form much more easily. by Jon demartin T he previous installments of Drawing Fundamentals on drawing the cube, the cylinder, and the sphere (with line only) stressed the importance of drawing the object's outlines correctly before modeling form with value. They emphasized the importance of both linear construction and perspective, These factors must come before shading. n other words, all the beautiful shading in the world will never disguise a poorly drawn object. "The art of delineating figures is the foundation ofpainting, without which, no matter how well one understands color and light and shadow, it is impossible to do anything good in painting," said Roger de Piles in his Elements de la Peinture Pratique. Value The outline reveals the object's shape and its threedimensional construction. But it is through the use of values that the object begins to take on a more natural appearance, Values are the way we see our world. Accordingly, artists use values to translate light and shadow into shading, thus creating the illusion of the third dimension. But what is value? Value is the degree oflightness and darkness in a given color. n drawing terms we think of values as shades of gray between black and white, The Value S~e and Value as Local Value The value scale is to art what a scale of notes is to music. The value scale gives the artist a means to handle the infinity of values in our world. t enables the artist to make better comparisons and suggest the relationships of the values observed in nature. What do we mean when we say local values> A local value is the natural color of an object without any 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 values created by light and shadow. We still describe the shirt as being white. t is the same with a gray shirt or a black shirt. t's easier to see local values when the light is diffused or when the form's surface is not facing direct light. n other words, it's easier to see the true value of your front door when it's not flooded by direct sunlight. For instance, in llustration 2, the local values of the white cube, gray sphere, and black cylinder are clearly seen because of the dispersed light. Value as Planes The primary role of value is to produce the illusion of the third dimension on a two-dimensional surface. The most effective way to create the third dimension is through the concept of planes. Planes are inclinations of surfaces on forms that are conceived as being flat or faceted. Planes are for the most part a concept~they really don't exist in nature, especially on rounded forms. However, the concept of planes helps the artist visualize form and simplify the infinite varieties and complexities of a form's surfaces, Let's take a look at the effect oflight on a form's planes. llustration 3 shows a neutral-gray card scored in nine equidistant segments lying flat on a twodimensional surface. Notice that the values are basically unchanging because of the card's flatness in relation to the light source. llustration 4 shows the same neutral-gray card with the light positioned above. The gray 38 DRAWNG

2 OPPOSTE PAGE llustration 1 A nine-value scale with seven gradations of gray between white and black. BELOW BOTTOM LEFT llustration 2 llustration 3 This photo shows how When a neutral-gray card (right) is scored in nine 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 in a "flat" light condition. flatness in relation to the light source. BOTTOM RGHT llustration 4 When the same neutral-gray card is bent outward and the light source is placed above it, the planes show how the value changes according to its orientation to the light.

3 9 High 8 1 Middle 6 Dark ' 5 ; Halftone 4 Dark Halftone 3 Middle Shadow 2 Dark Shadow 1 Accent llustration 5 llustration 6 The value scale showing the names of the Alineardia~ram of the nine modeling factors used to provide a gray card shown in nomenclature for describing value. llustration 4, llustration 7 A three quarters view of the gray card. 40 DRAWNG

4 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 relationship between value as local changes and value as plane changes. Top Plane Value as Nomenclatwre: the Mooeling Factors What do we mean by value as nomenclature? The dictionary defines nomenclature as a system of terms used in science and art. t simply means putting names to things. Whether we are seeing value as a local value or value as a plane, it gives us an advantage if we can describe what we are seeing with names. n other words, if we know what we are looking at, we are more likely to see it. llustration 5 shows a linear diagram of the value scale shown in llustration 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 modeling factors are the planes, or facets of forms, which present themselves to the illumination at different angles, thereby producing different values," artist and teacher Frank Reilly once said. 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. f 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 dramatically help you conceptualize plane directions in space. llustration 6 shows a linear diagram of the curved, faceted card from llustration 4 from the side view. Notice the symbol indicating the position of the light SOUTce. To understand light on form, the artist must consider from what direction the light falls upon the object. The part of the object that has the light most perpendicular to it must be lightest. As the planes turn away from the light, they darken. llustration 7 shows the same faceted card but from a three-quarter view. There are nine individual segments showing nine different planes. Because the planes are too numer- Side Plane Under Plane llustration 8 A synthesized version of the nine-faceted card, simplified to show the three main plane changes-top, side, and under. ous to name, we need to simplify what we are seeing. When we can distill the many facets (planes) into a more manageable number, the planes become more comprehendible. llustration 8 is a synthesized version of the nine-faceted card shmving three main plane changes: top. side, and under. t now becomes easier to describe the planes' direction when we say the plane is top. side, or under. Even when forms have rounded surfaces we can say the forms surface is top-ish, side-ish or under-ish. "sh" is the key word. t helps the artist describe the complexities of the form's infinite and varied surfaces. llustration 9 shows plane A perpendicular

5 Source. llustration 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. B D LEFT lustration 10 The same planes, now showing the modeling factors of light, Middle, and Dark. OPPOSTE 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 because it meets the light at an angle less than 90 degrees. Plane C is darker than B because the angle diminishes more. D is in shadow. llustration 10 depicts a three-quarter view showing the shadow side and the modeling factors, Middle, and Dark as they relate to the top, side and under planes. The right side of llustration 10 shows the same form from the front view. These universal concepts hold true no matter what forms in nature we are modeling. My drawing Male 42 DRAWNG Academy shows a straight-on back view of a seated nude. Notice how the back curves outward the same way the faceted card does. The dynamics of light on form respond in the same way. The part of the upper back nearest the light is brightest. Why? The plane is top-ish in relation to the light s~urce. As the planes move from top to side to under, they darken in degrees. The human form is the most difficult form to model However, by applying these universal truths, you will work with more intelligence no matter what subject you're drawing..:.