1. TONE & TEXTURE

2. TONE & TEXTURE
• WHILE LINES ARE ESSENTIAL TO THE TASK OF DELINEATING
CONTOUR AND SHAPE;
• WE RELY ON THE RENDERING OF TONAL VALUES, IN ORDER
TO ACCENTUATE SHAPE, LIGHT, MASS AND SPACE.

3. TONE & TEXTURE
• THROUGH A COMBINATION OF LINES AND TONAL VALUES,
WE CREATE THE TACTILE SENSATION AND APPEARANCE WE
CALL ‘TEXTURE’

4. TONAL VALUE
• THE PATTERNS OF LIGHT AND DARK IS ESSENTIAL TO OUR
PERCEPTION OF OBJECTS:
• DARKER AREAS OCCUR WHERE THERE IS AN ABSENCE OF
LIGHT;
• LIGHTER AREAS OCCUR WITH THE
REFLECTION OF RADIANT ENERGY
ONTO ILLUMINATED SURFACES

5. TONAL VALUE
• CREATING TONAL VALUES: USE TRADITIONAL MEDIA OF
PENCIL AND PEN/INK TO MAKE DARK MARKS ON A LIGHT
SURFACE
• THERE ARE (4) BASIC TECHNIQUES FOR CREATING TONAL
VALUES:
(1) HATCHING
(3) SCRIBBLING
(2) CROSSHATCHING
(4) STIPPLING

6. HATCHING
• CONSISTS OF A SERIES OF PARALLEL LINES,
• WHEN SPACED CLOSELY, THE LINES LOSE THEIR INDIVIDUALITY
AND MERGE TO FORM A TONAL VALUE
• THEREFORE, WE RELY PRIMARILY ON THE
SPACING AND DENSITY OF LINES TO CONTROL
THE LIGHTNESS OR DARKNESS OF A VALUE

7. HATCHING
• MAINTAINING THE DIAGONAL DIRECTION OF THE
STROKES IS KEY, IN ORDER TO AVOID CONFUSION WITH
THE UNDERLYING DRAWING AND UNIFIES THE VARIOUS
TONAL AREAS OF A DRAWING COMPOSITION
• USE CONSTRUCTION LINES TO DESCRIBE
CONTOUR AND SHAPE IN A PURE-TONE
DRAWING

8. CROSSHATCHING
• UTILIZES 2 OR MORE SERIES OF PARALLEL LINES
TO CREATE TONAL VALUES
• THE SIMPLEST CROSSHATCHING CONSISTS OF 2
PERPENDICULAR SETS OF PARALLEL LINES
• USE 3 OR MORE LAYERS PROVIDE A GREATER RANGE OF
TONAL VALUES AND SURFACE TEXTURES

9. CROSSHATCHING
• WE OFTEN COMBINE HATCHING AND
CROSSHATCHING INTO A SINGLE TECHNIQUE
• WHILE SIMPLE HATCHING CREATES THE LIGHTER RANGE OF
VALUES IN A DRAWING, CROSSHATCHING RENDERS THE
DARKER RANGE

10. SCRIBBLING
• IS A FREEHANDED SHADING TECHNIQUE THAT
INVOLVES DRAWING A NETWORK OF RANDOM,
MULTIDIRECTIONAL LINES
• BY MAINTAINING A DOMINANT DIRECTION, WE PRODUCE A
GRAIN THAT UNIFIES THE VARIOUS AREAS AND SHADES OF
VALUE

11. SCRIBBLING
• THE STROKES MAY BE BROKEN OR CONTINUOUS,
STRAIGHT OR CURVILINEAR, JAGGED OR SOFTLY
UNDULATING
• AS WITH HATCHING, WE MUST PAY ATTENTION TO BOTH
SCALE AND DENSITY OF THE STROKES, AND BE AWARE OF
THE QUALITIES OF SURFACE, TEXTURE, PATTERN, & MATERIAL
THEY CONVEY

12. STIPPLING
• A SHADING TECHNIQUE BY MEANS OF VERY FINE DOTS.
THE BEST RESULTS OCCUR WHEN USING A FINE-TIPPED INK
PEN ON A SMOOTH DRAWING SURFACE
• APPLYING STIPPLING IS A SLOW & TIME-CONSUMING
PROCEDURE THAT REQUIRES PATIENCE & CARE IN
CONTROLLING THE SIZE & SPACING OF THE DOTS

13. STIPPLING
• SINCE THERE ARE NO CONSTRUCTION LINES TO DESCRIBE
CONTOUR AND SHAPE IN A PURE-TONE DRAWING;
• WE RELY ON A SERIES OF DOTS TO PROFILE SPATIAL EDGES
AND DEFINE THE CONTOURS OF FORMS.
• USE TIGHTLY SPACED DOTS TO DEFINE SHARP
EDGES, AND A LOOSER SPACING OF DOTS TO
IMPLY SOFTER, MORE ROUNDED CONTOURS.

14. VALUE SCALE
• WHITE REPRESENTS THE LIGHTEST POSSIBLE VALUE AND
BLACK THE DARKEST VALUE
• IN BETWEEN EXISTS A “RANGE OF GRAYS”
• THIS RANGE IS REPRESENTED (BELOW) BY A GRAY VALUE OF
(9) GRADATIONS FROM WHITE TO BLACK

15. MODELING
• REFERS TO THE TECHNIQUE OF RENDERING THE ILLUSION OF
VOLUME AND DEPTH (3D) ON A 2-DIMENSIONAL SURFACE BY
MEANS OF SHADING WITH TONAL VALUES
– DARK AREAS CAN APPEAR TO RECEDE INTO THE DEPTH OF THE DRAWING
SURFACE
– LIGHT AREAS CAN EMERGE FROM A DARK BACKGROUND LIKE MOUNDS
RISING FROM THE EARTH

16. MODELING
• EDGES HELPS US RECOGNIZE SHAPE;
• WE LOOK TO EDGES TO DISCOVER THE SURFACE
CONFIGURATION OF A 3-DIMENSIONAL FORM
• THERE ARE MAINLY (2) TYPES OF EDGES: HARD AND SOFT

17. MODELING
• HARD EDGES DELINEATE SHARP BREAKS IN FORM OR
DESCRIBE CONTOURS THAT ARE SEPARATED FROM THE
BACKGROUND

18. MODELING
• SOFT EDGES DESCRIBE VAGUE BACKGROUND SHAPES,
GENTLY CURVING SURFACES AND ROUNDED FORMS, AND
AREAS OF LOW CONTRAST

19. MODELING
• WE CREATE SOFT EDGES WITH A GRADUAL CHANGE IN
TONAL VALUE OR DIFFUSE TONAL CONTRAST

20. MODELING
• WE CAN CREATE ANY SHAPE AND FORM USING BOTH HARD
AND SOFT EDGES

21. CONVEYING LIGHT
• LIGHT IS THE RADIANT ENERGY THAT ILLUMINATES OUR
WORLD AND ENABLES US TO SEE 3-DIMENSIONAL FORMS IN
SPACE
• WE DO NOT ACTUALLY SEE THE LIGHT BUT RATHER THE
EFFECTS OF LIGHT

22. CONVEYING LIGHT
• TONAL VALUE IS THE GRAPHIC EQUIVALENT OF SHADE AND
SHADOW;
• AND CAN ONLY INDICATE LIGHT BY THE DESCRIBING ITS
ABSENCE

23. CONVEYING LIGHT
• WHEN LIGHT STRIKES AN OBJECT, IT CREATES A LIGHT SIDE, A
SHADED SIDE, AND A CAST SHADOW

24. CONVEYING LIGHT
• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION
OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID,
THE SPHERE, THE CONE, AND THE CYLINDER
• WE MUST UNDERSTAND HOW LIGHT ILLUMINATES EACH OF
THE FUNDAMENTAL SOLIDS, AND ITS LIGHT-DARK PATTERNS,
IN ORDER TO RENDER THE EFFECTS OF LIGHT ON MORE
COMPLICATED SHAPES AND FORMS

25. CONVEYING LIGHT
• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION
OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID,
THE SPHERE, THE CONE, AND THE CYLINDER
LIGHT VALUES OCCUR ON ANY SURFACE
TURNED TOWARD THE LIGHT SOURCE

26. CONVEYING LIGHT
• ALMOST EVERYTHING WE SEE COMPRISES A COMBINATION
OF SIMPLE GEOMETRIC FORMS: THE CUBE, THE PYRAMID,
THE SPHERE, THE CONE, AND THE CYLINDER
TONAL VALUES SHIFT AS A SURFACE TURNS
AWAY FROM THE LIGHT SOURCE, WITH
INTERMEDIATE GRAY VALUES

27. CONVEYING LIGHT
HIGHLIGHTS APPEAR AS LUMINOUS SPOTS ON
SMOOTH SURFACES
SHADE REFERS TO THE DARK VALUES OF
SURFACES AWAY FROM THE LIGHT SOURCE
AREAS OF REFLECTED LIGHT LIGHTEN THE
TONAL VALUE OF A SHADED SURFACE
SHADOWS ARE THE DARK VALUES CAST BY AN
OBJECT UPON A SURFACE

28. LIGHT, SHADE & SHADOW
• THE CLARITY AND TONAL VALUE OF SHADED SURFACES AND
CAST SHADOWS PROVIDE CLUES TO THE QUALITY OF THE
LIGHT SOURCE
BRILLIANT LIGHT PRODUCES STRONG LIGHT-DARK CONTRASTS WITH
SHARPLY DEFINED SHADOWS
DIFFUSED LIGHT CREATES LESS VALUE CONTRAST BETWEEN LIT SURFACES
AND SHADOWS

29. LIGHT, SHADE & SHADOW
• CAST SHADOWS DISCLOSE THE RELATIVE POSITION OF
OBJECTS IN SPACE
CAST SHADOWS ANCHOR AN OBJECT TO
THE SURFACE ON WHICH ITS SITS

30. LIGHT, SHADE & SHADOW
• CAST SHADOWS DISCLOSE THE RELATIVE POSITION OF
OBJECTS IN SPACE
EVEN WHEN FORMS ARE HIDDEN FROM
VIEW, THE SHADOWS THEY CAST CAN
REVEAL THEIR SHAPE

31. LIGHT, SHADE & SHADOW
• SHADED SURFACES ARE OFTEN LIGHTER IN VALUE THAN
SHADOWS
CAST SHADOWS ARE DARKER WHERE THEY
MEET A SURFACE IN SHADE, BECOMING
LIGHTER TOWARD ITS OUTER EDGES
DEFINE THE OUTER EDGES OF SHADOWS
WITH A CONTRAST IN VALUE, NEVER
WITH A DRAWN LINE

32. LIGHT, SHADE & SHADOW
• AREAS OF SHADE AND SHADOW ARE ALMOST NEVER
UNIFORM IN VALUE !!!

33. MAPPING VALUES
• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS
INDISTINCT, WE MUST IMPOSE
BOUNDARIES

34. MAPPING VALUES
• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS
INDISTINCT, WE MUST IMPOSE
BOUNDARIES
MAPPING INVOLVES BREAKING DOWN ALL
AREAS OF LIGHT, SHADE AND SHADOW
THAT WE SEE ON A SUBJECT OR IN A
SCENE INTO DEFINITE SHAPES

35. MAPPING VALUES
• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS
INDISTINCT, WE MUST IMPOSE
BOUNDARIES
MAPPING INVOLVES BREAKING DOWN ALL
AREAS OF LIGHT, SHADE AND SHADOW
THAT WE SEE ON A SUBJECT OR IN A
SCENE INTO DEFINITE SHAPES
DECISIVENESS IS NECESSARY

36. MAPPING VALUES
• THE MAPPING OF LIGHT-DARK PATTERNS IS THE EASIEST WAY
TO BEGIN MODELING
WHEN SHADE OR SHADOW SEEMS
INDISTINCT, WE MUST IMPOSE
BOUNDARIES
MAPPING INVOLVES BREAKING DOWN ALL
AREAS OF LIGHT, SHADE AND SHADOW
THAT WE SEE ON A SUBJECT OR IN A
SCENE INTO DEFINITE SHAPES
DECISIVENESS IS NECESSARY
USE CONSTRUCTION LINES

37. MAPPING VALUES
• MAPPING REQUIRES REDUCING THE MANY TONAL
VARIATIONS THAT WE SEE INTO JUST A FEW
WE BEGIN BY SORTING THE RANGE OF
TONAL VALUES INTO TWO GROUPS:
LIGHT AND DARK; OR THREE GROUPS:
LIGHT, MEDIUM AND DARK

38. TEXTURE
• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A
TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE
WE USE THE TERM TEXTURE MOST
OFTEN TO DESCRIBE THE
RELATIVE SMOOTHNESS OR
ROUGHNESS OF A SURFACE

39. TEXTURE
• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A
TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE
WE USE THE TERM TEXTURE MOST
OFTEN TO DESCRIBE THE
RELATIVE SMOOTHNESS OR
ROUGHNESS OF A SURFACE
IT CAN ALSO DESCRIBE THE
CHARACTERISTIC SURFACE
QUALITIES OF FAMILIAR
MATERIALS: STONE, WOOD
GRAIN, WEAVE OF A FABRIC

40. TEXTURE
• WHENEVER WE USE HATCHING OR STIPPLING TO CREATE A
TONAL VALUE, WE SIMULTANEOUSLY CREATE TEXTURE
OUR SENSES OF SIGHT AND TOUCH
ARE CLOSELY INTERTWINED.
AS OUR EYES READ THE VISUAL
TEXTURE OF A SURFACE, WE
OFTEN RESPOND TO ITS APPARENT
TACTILE QUALITY WITHOUT
ACTUALLY TOUCHING IT.

41. TEXTURE
• THE SCALE OF THE STROKES OR DOTS WE USE TO CREATE A
TONAL VALUE, RELATIVE TO THE SIZE OF THE TONED AREA
AND THE DRAWING COMPOSITION, INHERENTLY CONVEYS
THE VISUAL TEXTURE OF A SURFACE

42. TEXTURE
• VISUAL TEXTURE CAN ALSO RESULT FROM THE INTERACTION
BETWEEN SMOOTH AND ROUCH DRAWING SURFACE

43. TEXTURE
• CONTRAST, SCALE, DISTANCE, AND LIGHT ARE IMPORTANT
MODIFYING FACTORS IN OUR PERCEPTION OF TEXTURE AND
THE SURFACES THEY ARTICULATE

44. TEXTURE
• CONTRAST INFLUENCES HOW STRONG OR SUBTLE A
TEXTURE WILL APPEAR TO BE:
- A TEXTURE SEEN AGAINST A COARSE BACKGROUND WILL APPEAR TO BE FINER AND
SMALLER IN SCALE
- WHEN SEEN AGAINST A UNIFORMLY SMOOTH BACKGROUND, THE TEXTURE WILL APPEAR
MORE OBVIOUS.
SMOOTH BACKGROUND
COARSE BACKGROUND

45. TEXTURE
• THE RELATIVE SCALE OF A DRAWING DETERMINES WHETER
WE READ A TEXTURE AS BLADES OF GRASS, A FIELD OF
GRAIN, OR A PATCHWORK QUILT OF FIELDS

46. TEXTURE
• LIGHT INFLUENCES OUR PERCEPTION OF TEXTURE:
-SMOOTH SHINY SURFACES REFLECT LIGHT BRILLIANTLY AND APPEAR SHARPLY IN FOCUS
-SURFACES HAVING A MATTE TEXTURE ABSORB AND DIFFUSE LIGHT UNEVENLY, THEREFORE
APPEAR LESS BRIGHT