Beginner Colour / Color Theory - Value in Shape, Form and Composition | JW Learning | Skillshare

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Beginner Colour / Color Theory - Value in Shape, Form and Composition

teacher avatar JW Learning, Drawing the Body, Head and Hands

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (50m)
    • 1. Trailer

      0:32
    • 2. Value Scale and Recap

      2:16
    • 3. Value Planes and Gradation

      3:42
    • 4. High, Medium and Low Keys

      3:13
    • 5. Light and Shadow Contrast

      3:15
    • 6. Value Ranges

      3:46
    • 7. Low Key Demonstration

      5:43
    • 8. High Key Demonstration

      5:28
    • 9. Landscape Values

      3:41
    • 10. Landscape Demonstration 1

      7:24
    • 11. Landscape Demonstration 2

      9:48
    • 12. Assignment

      1:03
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About This Class

In Lesson 2 of our Beginner Colour Theory series we take on the most important of our three Scales of colour - Value. Value is the key to developing feel and mood within our images. If we get our Value compositions correct, then this is going to go a long way into helping us create a successful illustration. In this less we'll cover Value for both Form and Landscape, breakdown how we need to think about it, and also do a couple of demonstrations as well.  There will be 2 class Assignments for you to attempt at the end of the lesson.  If you haven't started Lesson 1 it's recommended you begin there first.  

Beginner Colour Theory Series.
Lesson 1: Introduction to Colour and Harmony
Lesson 3: Expanding the Colour Wheel, Working With Hue

Software Used:
https://affinity.serif.com/en-gb/photo/

Meet Your Teacher

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JW Learning

Drawing the Body, Head and Hands

Teacher

Hello, I'm Josh, never ending art and design student.  Drawing and painting can often be intimidating for people who have never sketched in their life but what if I were to say it's not as scary as it looks?  I'm looking to pass on the knowledge that I have learned to people who are new to art, casual hobbyist looking to improve, or to those who are looking at art and design as a potential career path.  The lessons I've put together break down the process of drawing and painting into small yet manageable pieces that allow you to absorb the material without overwhelming you with information.   The aim is to give you simple tools to build complex creations.  The lessons are structured like a pathway, starting from the basic foundations and fund... See full profile

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Transcripts

1. Trailer: What a lesson to you. Now begin a color theory. Siris. In this lesson, we are going to go over the most important aspect of color theory, and that is value. Value is about the relationship between but shadow. It helps to establish depth dimensionality and moved out images. Miss Listen, we'll talk about why it's so important, how we go about creating it and then finish it off with some demonstrations for you to pull out. Value is the key compartment in college theory, so let's start understanding it now. 2. Value Scale and Recap: In our first lesson on color theory, we went over the three scowls we used in developing color renderings, value hue and saturation. In that listen, we had a brief look at how we go about measuring each of these scales. We said that the hue and the saturation scales our mission both around and within. The color wheel value, on the other hand, is measured on its own scale that is separate from these other two. When we look at value, we defined it as the range from black to white or the range from light to shadow. Value is often the first listed in this trio of scowls because it's the one we have to develop an understanding for first and foremost before we start implementing the other two . The reason we start our journey into color with the values scale is because it's the most important part off the coloring process. Value helps to define the form, the depth, the lighting and even the mood of the peace we are working on. It can help make an image looked bright and lively or dark and depressing if we don't have a solid foundation in place for the values in our image. It's not going to matter too much what the cold temperature is or how strong the intensity of our colors up. If we get out value correct that it's not going to matter too much with our hue and saturation, choices are working 100%. The value of that image will go a long way to offsetting any mistakes within these two other scales. If we screw up without value and try to rely on hue and saturation to fix their image, then we are forever going to be fighting a losing battle. We are much better off sacrificing the vibrancy and consistency of our color choices, then losing a strong sense of value in our image. The bonus we have with value is that it's the easiest place to start with the color theory . It's significantly less to think about because all we're focusing on is the relationship between light and dark, which is why it's the area of color theory that is often talked first. But there's a bit more to it than just simply putting down light and dark areas on the canvas. So let's start taking a look at this in more depth 3. Value Planes and Gradation: Let's go about how we go about seeing value. When we look at the service often object. The light that hits the surface graduates has to shift darker and darker, the more that surface turns away from the light source. What we can say then is that each time there's a directional change away from the light, we get closer and closer towards shadow. The front of the box here is one value, capturing most of the light. The top is another value. Capturing the middle Times and the side plane is capturing the shadow, which is our darkest value. So whenever there's a change in direction on the surface of an object or in simple terms, a corner on an object this means is going to be a shipped in value. So the basic formula we can say to ourselves is a change in direction equals a changing value. Each side of this box is positioned differently. The front facing in one direction the top is facing in another on the side is also in a different direction, and as a result, each plane on the surface is generating a different value, moving from the light to the mid tone to the shadow. Change of direction, change of value. This is what helps to create form. If we didn't have this change in value, our objects will just end up looking like flat, lifeless two D shapes. We get out light and shadow shapes, right? It will bring the type of three dimensionality we are looking for. Now this all makes sense on something with sharp corners. But what about something that is rounded well on this fear and this cylinder? We are still doing the same thing, but the changes in direction are a lot smaller. We are very subtly stepping around from the light in the midterms to the shadows with what are essentially tiny little corners. We brought this up in the lost listen briefly that we call this a gradation, a smoother transition from light to shut up. We're not only going to get a gradation in our objects, but we're also going to get them in our environments as well. If we are dealing with landscapes, for instance, we're not going to be dealing with the plane changes like we would on an object. The changes of direction still exists there just going away from the viewer. We'll have a greater look at landscapes and value a little lighter on whether it's an object that we're dealing with or a landscape. The greatest challenge we're going to face as artists is creating that sense of depth on our flat two dimensional surface. How do we do that? How do we make that bull feels? If it's something that we can pick up a throat, how do we make those mountains look as if they are sitting miles back in the distance? Changes in value are going to help sell that illusion for us. If we don't get that right, we run the risk of our images looking flat and lacking in depth. So the core idea we need to remember for ourselves is that a change in direction means a change in value. Now it's easy to get overwhelmed by this, even looking at a simple object. We've got all these different value changes present. Then where exactly do we start? In Lesson one? We talked briefly about simplifying things for ourselves to get us started. Before we worry about diving headfirst into rendering and details, we need to just break our entire structure down into two big value shapes, one big shape of lights and one big shape of shadow. Ignoring the middle values in between and focusing on these two big areas first and foremost. So this is the starting point for us, and it's going to be much easier than just diving headfirst into rendering straight white. But there's a little more that we need to go over with this, so let's move on to that now. 4. High, Medium and Low Keys: So as we mode mentioned in the last part, the starting point for us as artists is just focusing on the too big areas of light and shadow for our values. When we cancel at all those mid tones between the two big areas, what this is going to do is leave us with what's called a design pattern. A design pattern is essentially the skeleton off their image. The basic idea. We are trying to get onto the canvas. The trick we're going to have with this patent is trying to make out too big shapes of light and shadow work together. If we make things look too random for our audience, there are simply going to wonder around the image, not knowing exactly where to look. Conversely, if we make things to even in regular without designed patent, then our image risks becoming a bit too boring to look at. So we want to avoid these two extremes. The challenge we're going to have for ourselves is finding the balance between making things too chaotic and making things look to mechanical. In our design pattern. We are ultimately looking for harmony between these two extremes. We want our light and shadow shapes to be working together as a team. Now, the first decision we're going to have to make for ourselves here is exactly which of these two big areas is the most dominant. Most of all note that in music we have keys on the musical scale that range from high to low in this, and we have something similar here in art. We also have high and low keys. A high keep painting is a painting that leans towards being a predominantly like composition. Whilst a low key painting is one that leads towards a predominately darker composition, a medium key is one that is roughly balanced between the two. That doesn't mean an exact 50 50 split. We don't want to add designs looking too boring. It just means that the balance between the light and shadow is close enough to being equal . Let's have a look at some examples. Now we've got some similar looking images here of a house in shadow with sky in the background. We can see here on this first image that the sky is the dominant feature, meaning the lot shape is the dominant value in this piece, making this a high keep painting. If we look at the next one, I've got a house increased in size, making it the dominant feature. We got these big shadow shapes he which dominating everything. So we've got a low key painting. If we look at our next example, we've got something that's a bit more balanced between the two, Making this a medium. Keep painting. Noticed how we don't actually have much different in terms of subject matter in idea in each image. But that simple, changing out keys has shifted the overall looking each piece dramatically. Our keys are really about the proportion of light to shadow. We're going to have to decide at the beginning whether we want something that is predominantly light. Predominantly shadow was something that's balanced between the two. Once we've established our design pattern and which Chiara artwork is going to be in, then we can start to look at incorporating a greater value range. So let's have a look at that now. 5. Light and Shadow Contrast: So we've established that we need to break things up for our to big areas of light and shadow, but we need to expand upon this a little more. We need to now think about the level of corn trust between these two shapes. Not every image we do is simply going to be black And what? That's an extreme way off tackling things. If we're painting something with a balanced lighting source, for instance, then we're not necessarily going to be getting these hard shutters being formed, so black and white suddenly becomes less useful for us. So what do we do? If you've ever used a piece of photo editing software before, you'll often say this Tucker symbol used to represent contrasts. What we need to think about is the difference. In contrast, there is between our light and shadow shapes. L light and shadow shapes don't need to be at the extreme ends of the value scale, just using black and white. Their values need only be different enough to ensure the audience can see where l light and shadow areas separate. The difference in a light and shadow contrast can be as extreme is this symbol but it could also be very subtle as well. So in the same way that we have high and low keys is our foundation. We have high and low differences in contrast between light and shadow shapes. Let's have a look at some examples, so we've got a high K landscape image here again. But we've also got examples of the different levels of contrasts between the light and shadow shapes. The difference, in contrast, ranges from being very extreme to being very narrow to being somewhat balanced. We've still got a clearly defined design pattern and a clearly identifiable light and shadows shape. But the difference is, in contrast between them, is shifting in each image were either getting a big difference in contrast, a small difference or somewhere in between. And it's the same without Loki painting as well. We've started with a big difference in corn trust in one image, making out to shapes less contrast in the next, and then finally having something that's bounced in between. So not only doing need to identify what key our images in, but we also need to figure out what are the contrast levels between our two value shapes what you might end up noticing here is that even though we've only done a shift in value for all light and shadow shapes, either further or closer together we can see just how much the mood has changed within each of these images. If our keys are about establishing a design pattern, which about two big values dominate, then contrast is really about establishing the mood off that design. Moving the light and shadow shape values either closer together or far apart, is going to dramatically change the look and feel about painting. We need to create a design patent that works for the viewer. We have to choose whether we want a high, medium or low key painting, and we need to establish the mood by way of contrast between L light and shadow shapes. Once we figured all of that out, we can finally move on toe, adding form into our images 6. Value Ranges: so we've established their foundations. Now it's time to break down a greater value range in order to generate some form their images. Once we've established our overall design, we could now start to go into specific areas and adding old the in between values to bring three dimensionality to out pieces. We're now going to look at our shapes of lighten, shadow and start to break them down into small values within H. This isn't too different from what we've done from the start. Essentially, we're working big to small, breaking our overall image into two big values of light and shadow and then breaking these values down into a greater range of mid tones. The's in between, return areas of value helped to develop our three dimensional forms. But what we don't want to be doing is incorporating the entire value scowl When we start adding in these additional areas. If we break out value scale into 10 pots, black being level one and what being level 10 it's not going to make a lot of sense to be using a lieutenant levels within air image. We not only run the risk of making a mess of their image and killing off any sense of depth . But we also end up making life more difficult for ourselves and wasting time. Instead, we need only enough of these additional levels toe work within the range of our initial light and shadow values in order to create the depths and forming need. Let's have a look at an example. So we've got a apple image here. We've got a design pattern in place for our light and shadow shapes. We've got our contrast figured out. We've got a foundation set up for ourselves. Now it's a matter of looking for these additional values within these lighten shadows shapes. If we look at reference image, we can roughly estimate where these additional values that are being created are within our shapes. We started with two value shapes and have now expanded it to incorporate more. What we're going to notice it is that each of these additional values that are being created are working with our initial light and shadow shapes. A lot side has a set of values that are working to get up, and the shadow side has a set of values that are working together. We aren't relating these additional values to their parents shape. What we don't want is for there to be values that conflicting with this idea. What are the values that are present in our shadow side? Need to be different enough to those on the light? Take note of how much flatter out Apple looks in its second image. This is because the sheriff's side has a range of values that are too similar to the values on the light side. So this is something that we need to avoid now. As we said, what we don't want to be doing is going overboard with the number of values in our piece. We are much better off slowly building up l levels of value started without to light and shadow shapes, adding in our third value shape at fourth shape, etcetera we need to do then is to blend all these value shapes together in a smooth gradation to bring out forms the life, so we only need to use a handful of additional values to help define out forms. We don't need to have every subtle value change, you know, images. As long as we give the audience enough information and tell them that there's a change in direction on an object that out three D form is being created, then their eyes. They're going to do most of the work for us. As long as we keep a clean distinction between light and shadow whilst developing a value range within each area, then we don't need to go crazy with the number of values that we use. It not only makes that images look better, but it makes the process far more manageable for ourselves. 7. Low Key Demonstration: All right, let's do a couple of demonstrations were going to do both. They low and a high Keep painting with a contrast range roughly somewhere in the middle when I'm going to go to extreme with the the contrasts in these two images. So I'm gonna start with the low key image first. And it's nothing about the shadow shapes Got the shadow being formed, he on the back of the egg as well as the car shitter that's being formed a little bit of shadowy air up the top of the image as well. Now I've got a little touch of blue mixed in to these dark areas. That's because black tends to be a very dead looking color on its own. So I find that just having a little bit of a color and they just brings a little bit Matlock to the overall image. So just working on the shadow shapes safest informers not worrying too much about former At this stage, this is all about really just blocking things in and getting some foundations for ourselves . So that sort of stage number one, that doctor area and this second part of a shadowy area is really value number two value shape number two. So it's about prioritizing each value area we saw earlier in a lecture that we can kind of break the value scale down into however many levels we need. Most people break it down from 1 to 10 but it's really just an arbitrary style. You could literally number it anything, really, 1 to 101 to 1000. What it's really about is trying to figure out an approximate starting point for us now. You might be saying to yourself, Haven't you broken your rule a little bit? He you've already broken up your shadow side into two separate parts. You haven't focused on the light side. You haven't got that value in just yet. And the reality is, is that everything that we've gone over in the lecture needs to have a little bit of flexibility to it. This image has a pretty clear separation between light and shadow, but it's also got a pretty clean separation within our shadow was, well, we've got the cast shadow coming out from the light hitting the egg and the table, which is at a slightly different value. I'm going to come across situations sometimes where there is going to be an obvious third value there. So even though it we've talked about simplifying things to two basic shapes of light and shadow, we also it shouldn't be that literal with that approach. So if we see there's an obvious third value in there a middle value between the two, then we simply point that value shaping as well. So we need a little bit of flexibility with their approach. So we've got out main light and shadow shapes in place. And it's time to start thinking about heading in these meantime, values to bring out some much needed for minutes. Newedge. Now you can already tell Stride White just with the shadow and lots shapes. We've actually got a little bit of form there. You have to show this basic shape to someone they'd make a pretty educated guess that what they're looking at is an A. We can get some sort of semblance as to the subject matter that we are drawing or pointing at the start, using just these light and shadow shapes, then out foundations. They're actually in a really good place then, because not to build on these foundations and stop bringing great at three dimensionality to Reverol images. And as you can see, we've only got three additional values that we're adding into these foundations now and so we don't need the full value range. The truth is, if we get enough of these values in place, the audience is kind of gun filled, the resting for themselves, even if we're not 100% accurate without values, if there's at least enough there for the audience to work out that what they're looking at is an egg or an apple or a land staple, whatever it might be, then we've used enough values in your piece. So I'm putting in the lighter values on the shadows side. Now we got a little bit of reflected light bouncing up from the table, hitting the shadow side of things. But we don't want that reflected light bouncing up to be as high as any part on the lighter side. So it's gonna be super important for us as we made mention the lecture to ensure that there is that clear separation here between our light and shadow side. If we have values and out shadow side being of the same Rangers are light side that it's going to start throwing the image off. You know what? This is gonna look at it, and I suspect that something about this just isn't looking right. So whatever bounce like that we might have coming off on the shadow side, we need to ensure that it's nowhere near as bright as anything that's happening on the lighter side, developing the background a bit. Adding a bit more of a darker value in this is going to bring a bit more contrast into our piece that's going to bring greater focus actually onto the egg itself. A lot of sort of the egg value is extremely important in actually getting the audience to focus on a particular area for you. I want to make something that draws people's izing well, usually make it broader and the area around Dhaka. So that's the importance of value. All right, let's finish this up here and move onto the next one 8. High Key Demonstration : all right, let's start our high, keep painting and will stop ending in the Cheddar shape. Well, if we get the right value first, that would certainly help. So we'll get our shadow shape being first and foremost just picking up from what was said in the last demonstration of just how much values can actually influence the audiences. I in the composition if we look at the reference image, even though we've got significantly higher values and the dealings a high key, that there are still being drawn right that egg and that's because it is the brightest area of their image. This is why values going to be the most important of our three car scales because if we get this right, then we can kind of screw up with the other two. Scales, hue and saturation aren't nearly as important as getting these light and dark areas working together as a team gotta share a Shippen's. I'll start working on our second value here, the table which is on the lot of side of things. We would break everything down to two basic shapes. You would include that in with the egg, which is obviously the brightest part of the whole image just going back to human saturation. There's really only so much those two scales can actually do to help fix their image 90% of the time. If there's something wrong with your composition, then it's most likely the values that are going to be the issue. So this is why we start with value first with color theory. We're fortunate, though, that it's actually the easier of three scales. Toe work with hue and saturation can end up being a little bit complex toe work with, especially when you combine it with value. But when we're just working with a simple black and white scale, we don't have to worry about temperature or how intense the colors are. We have to focus on is the relationship between the lights and the dock areas so we could be way off with their colors. We can have really muddy looking colors, but if we've got a really solid foundation of value underneath it, it's going to go a long way into saving the image. It might not necessarily turned out how we want it to. We may need to work on the other two Skiles for practice of it more, but it might be salvageable if we've got really strong values underneath it. Not everyone is going to be up to see all the colors in the color wheel. Some people have color blindness, but as long as those light and shadow shapes is still working together, we can still create great compositions that even people with colorblindness and other issues like that can still get something ever could still feel something out of it. They can feel the white off that Hagel that bull, that apple bacon get the sense that those mountains or those forced Reza miles back in the distance so again. But my three million shapes of value in now can start putting in. You had a areas that are Lyta again during those light areas in the darkest ought to be working with that shadow. The thing that we are going to have to remember with forms, especially is that there's lot that's bouncing off literally everything. Everything that receives light itself becomes a source of light, so we've got the light not only hitting the egg but also hitting the table as well, and that life from the table is now bouncing up and partially illuminating our share outside. But take notice that even though we've got a lighter area at the bottom of the shallow side , it's still a dock of value. Then what we're getting on the light side, it may very well seem as if that bottom part of the egg on the shadow side is as bright as what's happening on the light side. But the truth is, is that the light that this shadow size receiving the bounce like from the table is a lot weaker than the direct light that's happening on the lot sort of Eric. So again it bears repeating. We have to make sure that whatever illumination is happening on our shadow side through reflective light will maybe some type of are the lighting source. We have to ensure that the values he do not conflict with the values on the lot side of our object. Now they're going to be instances. Of course, we're not going toe, have lighting conditions that are this extreme, but the idea is going to remain the same whenever there's a change in direction on their forms, that's going to result in a shift in our values. Thinking in boxier structures is certainly going to help with that, because Box is the clearest definition off a change in direction. So if that means making this egg look a little more corner and boxier at first, then that's fine. We can get our values in and then blend the corners in with each other and create that nice , smooth gradation. So it's considered this demo don and when we're going to talking about values in landscapes , briefly. 9. Landscape Values: so we've talked mostly about generating value within Forbes, but we also need to touch upon value within environments and landscapes. Also. Now, this isn't such a big issue. If we're dealing with a subject matter that is in close proximity, if we're just doing a still life of maybe a bowl of fruit or a painting of a figure, we're not going to have to worry too much about the background because there's going to be nothing that goes on in the distance for miles and miles. The way we've looked at things so far is value being the structural foundations for an object or form with landscapes. We need to look at value as being the structure for the overall composition. Now we're not going to go get landscapes in any great detail. Here's that's an entire lesson in and of itself. But we are going to cover how we need to tackle value a little bit. He differently compared to how we do with forms. The biggest challenge landscape painters have is trying to make those mountain peaks those luscious forests those dark, ominous storm clouds in the distance because if they are placed miles back in the distance . So let's talk a little bit about how we tackle that. Let's first go back to the beginning and look at our box again to help us. We've already talked about how a change in direction means a change in value. We've already established that all three planes on this box opposition differently, creating a different value. What we also have, though, that we personally cannot see is the plane at the back of the box. If we take away the top inside planes of our box, leaving us with the front and back planes, then we're going to be left with the same concept that we started with. Outback Plane is in a different position in a different area to the front of the box. A change of plane, a change of direction, a change of value. So what does this have to do with landscapes? Before, we were looking at the separation of light and shudder within our values. Now we're looking at the separation off full grounds of background Instead of it being the transition from light to shadow. We are dealing with the transition from the foreground to the background. So if we look at our little landscape image here, a house with a tree on it is on one value plane. The forest will be on another value, playing the mountains, the sky, etcetera. It's not going to be much good for us if our house, mountains and sky are all sitting on this front plane. We need to stagger these core elements away from each other in order to create that sense of depth. So a change in direction equaling a change of value rule still applies. But in this instance, the landscape moving further and further away from the viewer is where that change is happening. Now we can have all these different background elements very close together. We'll have them separated by miles and miles, but we have them all in the same front plane. Then we're not going to get any real sense of depth in their environment. If we turn the corner of our box to be in the same position as its front plane, then all of a sudden we've lost or sense that what we're looking at is a box. So it's going to be vital with landscapes to think about separating out values in this white. Now this is really only a taste of what's involved with value and landscapes. That's another lesson for another day, but it's never too early to begin looking at this area of value, either. So if we want to develop well rounded paintings and illustrations, then an understanding of value for both form and composition is essential, so we may as well get out. Wait, wait. 10. Landscape Demonstration 1: right, Let's start doing a couple of landscapes. You know, I'm not much of a landscape painter from perfectly honest, so could probably use a little bit of practice here myself with this listen, so appointing reference here is pretty high. Keep going. Very deep shadow happening at the front, where a house in the trees are just a little bit of a lot of value on the roof in the chimney just to bring out some of the details of the house. We don't want things like this to be too much into shadow, and I just want a big block off shape. We need some level of indication of the structures that are being formed in the image. We started things pretty simply with an egg for your first couple of demonstrations, and now we're moving on to something that's a little bit more complicated. We got a think about things a little bit differently, as we certainly landscape lecture. I've got to sort of break all these areas up into these different foreground mid ground background planes. We got the house, of course, in the foreground. Not really much in the mid ground. We could probably say that the clouds are the next plane behind the house and then the skies behind that. But we could also just combine the sky and class together. So again, prioritizing things were just doing it in a slightly different way compared to what we do if their forms. But at the end of the day, it's still just about creating these basic value shapes first and foremost, whether we want to consider this to value set up for three values set up for a full grand me granted background. When we start to think of this as being boxier structures not just in terms of form, but in how and landscapes work as well, Then things start to become a lot easier for us. We don't just want to be diving head first in rendering all this stuff we have. Teoh, stop planning things out and start identifying What are the areas of shape that are going to give me the best foundations toe working. Now the thing we're going to have to know when we are dealing with landscapes, even though we're gonna be using the same I ds for our forms in terms of different planes equaling different values in landscapes when not necessarily always going to get the value change happening like we would on an object. We may very well have a case where we've got a very dark foreground element 12 landscape, a very light mid ground element and then I very dark background element to our landscapes. We won't have that house in the in the full ground, but a very doc I'm gonna sky in the background, but some very lighter looking clouds sitting in between the two. Maybe we've got a storm brewing in the background and the clouds are sort of shifting from being like two very dark. So you're going to get these conflicting elements. That happens sometimes when we think about layering out landscapes into these separate planes, and that's when we're going to have to make some choices for ourselves. We may very well want to actually make that background in that four grand element a very similar value in order to focus the viewer onto the lighter part of the composition. So we might have that house in that dark sky kind of almost blending together in the same value range despite the fact that ones in the foreground ones in the background in order to get the audience to focus on what's happening in the light area of the composition. This is all about framing at this stage, where it's sort of directing the eye of the audience to that particular pot as we talked about earlier. This is why value is such an important piece because it gets us to move the audiences I toe where we need it to, so that some choices that we're going to have to make we could also go in the opposite end of that idea. Instead of blending out foreground and background areas together and sort of losing that distinction between the two, we could go to the other end, push the values further apart from each other. That may very well helped to distinguished that dark, stormy sky from the silhouetted foreground. But we also run the risk of making things look too far apart, which goes back to what we were talking about with the levels and our values scale. We don't want to go overboard with it cause it starts to make things look a bit too unnatural without drawings, an illustration. So we're going to have some choices that we're going to have to make here. Well, that's a dark and stormy not image or a warm, misty morning image with the fog rolling in the background, covering the mountains. We're going to have to make some choices along the way, and sometimes we're going have to sacrifice things for the sake of the composition. So I don't feel as if you are beholding to the literal truth. I'm not really trying to be photographers if we want the literal truth. We can always just take it out phones and cameras and shoot the image as it is. But we really do want a bit more control. Everything that we're going over here in this lesson is really about control. Weaken, make adjustments to an object or landscape in its values if we need to. As you can see, I added in an additional value, because the initial swatches that I had set up wasn't light enough. But you can see it's store relates to the rest of that light of shape foundation, so that additional light value is working with the other values in that range. It's going to adjust the contrast and subsequently, it's going to adjust the mood as well. So if I had left it as it is, then that sky suddenly starts to look a little more gloomy and a little more depressing By adding in that slightly higher value level in there, it was sudden. The sky has a slightly different feel to it now, even though we are going to come across situations without foreground mid ground background elements where the values start to merge and blend together a little bit when we start, Thio added. Now hue and saturation, that's actually going to do a lot separate these areas of conflict. So we might have that dark sky on that dock, foreground, being of similar value. But soon as we start applying a different hue in a different saturation to both, and it's going to told the audience that these are two separate areas, so one of the limitations with values that it can only define things to a certain point. We'll need the other two scales toe hope with doing that. So just gonna putting a few more. A lot of values in this shed a star than what's in the reference image because it's just looking a little too flat. It's just too much of a silhouette shape here, not enough indication of the structures of the house. So taking control, things, doing what's in the best interest of the composition. All right, let's finish this one up here and do one final demonstration. 11. Landscape Demonstration 2: OK on to our final image. Then you can say that we've actually got a pretty good example of what we were talking about. In the last demonstration, we got this sky and the mountains sort of in the same value area, even though that the sky would technically be plane that is further away from the mountains . But they're sort of almost blending together and is very similar range of values. We've also got some very distinct areas of value as well. The foreground elements of the tree with the grassy area is just pretty much a silla wit. Clowns are quite hi and their values as well, so it got very distinct contrast between the clouds and the tree and the grasslands in the foreground, whilst the mountains in the sky are sort of working in the same value range now, what's going to help, of course, separate these areas A little more is going to be the gradation that's happening with sky as it gets closer to the horizon generally gets lighter, so that's going to help differentiate these two areas. If we didn't have that gradation happening in the sky, then there's a good chance that and mountains and ask our will just simply merge into each other. So just looking in these mountains. So yeah, tradition is really going to be a key component to landscapes into developing not just that separation of these, these my employees that were creating for ourselves but also getting that sense of depth. It's going to be a visual indicator that there is something moving away from us. Creating a sense of depth and perspective can also help to create a sense of atmospheres. Whoa, we might have the fog of the mist rolling in over these mountains over these Grassi areas, which will end up blending all these values together, spreading that real sense of atmosphere images. What we don't really want to be doing is using outlines to define these areas. If we get a good sense of that gradation, that transition from the lodge to the dock areas within these planes, then we don't have to rely on strikes than to define these areas for us. So that's the mountains done and more or less the in Thai shadow side. So it's not moving on to the sky. Now you can see just how similar these values ought to those in the mountain almost side that this is a low keep findings. But quite a lot of mid times we've got some real extremes with the foreground in the clouds in the background, of course. So I'd say this is a pretty balanced key, this one. Just a note, actually, on how we go about creating gradation. We really want to try to blend using a sort of zig zag Patton if we're going from one value to the next, when I just really want to smudge down anyway. Shackled full and the the easiest solution, especially if you're using pencil that you could be a little bit more forgiving with. But if you're using pencils O graph Oso Char calls using a sort of back and forth motion and then moving your hand either rappelled down to create that gradation. Don't just do big circles or anything like that will just random range of movements. Try. Do It was a zigzag. You weight down to create degradation from doctor light or light to dark. If you're working on a dark canvas with you white jokes or white shark ALS pints, you can play around with a little bit more. It's a little bit more forgiving in terms of how you can actually go about making your traditions work. So play around with a different type of drawing mediums. So do pencil works and charcoal work paints just used cheap acrylics. You don't need to go crazy with expensive oils or anything like that. So if you just practicing, also try to work on different tone surfaces as well. So try practicing on a great paper or grey canvas and truck. Practicing with black canvas is is Whoa because it sort of forces you to think about things a little bit in reverse the entire process that we've going on the heath. This lesson has been about adding black to white surface. But if we start doing it reverse using lighter turns on a darkest service, then we sort of have to think of bad things a little bit differently, and it presents its own unique set of challenges. They can actually be quite fun as well, and you'd be surprised just how much working on that dark Campbell so that DACA paper is going to affect the mood from the very beginning. All of a sudden, you're kind of working in reverse. Your perspective has shifted and we're Alston and not. You'll end up with a different result of what you would if you were painting the exact same thing on a white canvas or a lighter tone to canvass. So it's clear they're coming together nicely there. We're gonna working. The values probably aren't 100% correct in here, but this is still working, and that's the important thing. We don't have to get things 100% correct. Some of it is just going to be taste as well. We're going to develop their own sense of what we think this image should look like, so we should never feel as if we have to get exactly what is right in front of us. When we break all of these individual values down, it means we have control. If we need to bump something up, if we need to bring something down, we've got full control over the situation. Simple lighten shadows, shapes, simple value ranges within those shapes. When we sort of break it down in that way, all of a sudden it starts become a lot less daunting, building our landscapes or painting out figures or doing that still, life of the bowl of fruit sitting on the the towel of the drapery. The issue many beginner artists tend to have is that they're in the mindset that I'm creating a mountain or I'm creating that sky, those clouds, those trees. We have to divorce ourselves from that idea. So we have to look at these mountain ranges and say to ourselves, Okay, these aren't mountains with, you know, trees and rocks and snow on them. They are just simple triangular shapes that happen to be a a darkish grey in color. So when we start to break the process down for ourselves in those more simplified ways, it starts to become a lot more manageable. And not only that, but it starts to become a lot more enjoyable. A swell. As I mentioned earlier. I'm not much of a landscape painter. It's not really one of my strongest areas, so I'm just sticking to these very simplified ideas myself. Just looking for those simple value shapes and then building up a greater value range within those shapes, developing gradation, trying to develop a sense of atmosphere in the piece and just slowly building each pace up until it becomes something that resembles what it is on looking at. We have to sort of look at the reference in Angel. Where is we are sitting painting that landscape? Well, that's still life is essentially being the best case scenario if we can get it exactly like that, fantastic. But that kind of design and that kind of accuracy is going to take time. But the process is still going to be exactly the same, is what we've gone through. As we said earlier in the lecture, we are working big to small. So if you really want to get into something that's sort of hyper realistic and a super detailed, then the process is going to be identical to what we've gone over. Figuring out a bigger value shapes first and working our way down to ever smaller and smaller value shapes. The same idea replies with We're doing something that is super realistic or something that's a bit more abstract in nature. Values are always going to be the key in a very solid composition, So as we finish this up, I have this lesson has been of some value to you. No pun intended. The next video. We'll give you a rundown of the assignments for this class, so practice with all of those you're working with. Real world mediums feel free to use it the pencil pencils or child calls, whichever one suits you best you're working digitally. Course is an array of software programs out there that you can use amusing affinity photo because it's got a really cool mixing brush. Which sort of X like a real world paintbrush? So I'd recommend that for doing some digital painting on your iPad. So that's gonna do it for this lesson on color theory for Value will cover our other two scales of hue and saturation in another class, so until they keep practicing and I'll see you in the next lesson. 12. Assignment: okay. The assignment for this lesson is to do the same demonstrations as was depicted in the lecture. We'll have the to low and high key egg images, as well as a couple off contrast variations off those two keys Now the other part of the assignment is, of course, doing the landscape. Now this one's going to be a bit more of an optional extra if you don't feel as if you're ready to tackle this because it's a little bit more complicated than feel free to skip over it. But if you wanna have a goal that by all means try it as well, they'll also be additional landscape images to practice with. So if you feel like you really give that a shot as well now, of course, the other option you've got is to just search some black and white images for yourself. In practice with those, I'd stick to something that's pretty simplified at this stage. Boxes, cylinders, spherical objects, something like that. But if you want to challenges, so by all means, try something a little bit more complicated. Just remember, everything that we've gone over in the lecture can be applied, no matter how simple or how complicated the pieces we are working on. So give all this a shot, practice hard, and I'll see you in the next lesson.