Helen Elizabeth Kuumbi |Artist| Cornwall
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Value for landscape painting
An introduction to the concept of value as a dimension of colour and how it can be used in landscape painting.
I use examples of my own artwork to demonstrate the concepts- do not replicate or use these images elsewhere without permission and credit.
Part one:
Value scales and studies
value and colour
using value for emotional and atmospheric effect
exercises to improve your use of valye
Skip to Part two
Introduction
Value describes the relative lightness and darkness of an area, independent from the colour. It is, most simply, how light or dark something is.
Value is a result of the interaction between the light and the surface object being represented. A number of factors can influence the value of a surface:
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The direction and proximity of the light source
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The intensity of the light source
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The properties of the objects surfaces and how it reacts with light (i.e. glossy, matt)
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The distance of the object from the viewer
A great way to start with value is to look at either your own artwork, or work by another artist, devoid of colour and see how it works in terms of the values only.
'Greeting the Rising Sun', acrylic on canvas, 40x40cm . Here., strong value differences create a strong underlying structure, a limited colour palette gives a cohesive sense of light
'Sea Breeze' acrylic on canvas, 20x30cm . The strong value contrast of the distant pines against the sky creates a point of focus
Colour first or value first?
Value is often prioritized over colour in landscape painting as gives strong structure and depth to the work. However, a painter might prioritize colour over value for emotional impact or to establish a particular mood.
Here are two paintings from my 'Through the Trees' series. My use of value is different between the two. The first painting ('Sweeping blue') has a very close value range all within the mid-tones. Our understanding of the scene is communicated through variation of hue rather than value. In the second painting ('Fire burn') there is a wider range of values, and much greater contrast between the foreground and background.
In 'Sweeping Blue' I wanted to create a close, melancholic atmosphere, a dense feel and to capture the low-lit winter woodland. In 'Fire burn' I wanted to portray the luminous morning mist and strong patterns created by the sun hitting the trees.
Monet often prioritized colour over tonal value using vibrant patches and contrasting complimentary colours to create the impression of light. Have another look at his work but in black and white.
Why is value important ?
Value differences create the illusion of space
The difference in value between surfaces produce a sense of three dimensional space, depth and distance. It is an important cue for how we visually interpret a scene. The differences in value can create the illusion of mass and volume. If the relative values are correct, you can produce a believable sense of space, light and form which is independent from style and precision. Artists may use wildly inaccurate hues but with accurate value, the scenes would work – they made sense and were easily interpreted by the eye.
Value differences draw the eye to the intended point of focus
The greatest point of contrast between light and dark draws the eye, creating a focal point. The high lights should be reserved for the focal point, creating the greatest difference between light and dark.
Value range influences our interpretation of the whole painting
The use of value can give the whole painting a different mood or feel. For example, high-key (lighter) values to give the image atmosphere and energy. A low-key (darker) value range can give moodiness and mystery. Value dominance in a painting has an impact on the overall effect; from the level of visual interest and excitement, to the overall mood and feel to the painting.
In Baroque painting, the technique of chiaroscuro (meaning light-dark in Italian) was applied to produce highly dramatic effects. Such a technique is defined by a clear tonal contrast with very high-keyed whites placed directly against very low-keyed darks.
''The Royal Oak' (acrylic on canvas 20x30cm). There is a clear division of the foreground, background and sky by value zones.
'Rose tinted Rame' (oil on canvas 40x40cm)
The focal point of this painting is the distant headland. A high contrast of value has been used here to draw the eye.
'Butterfly in The storm' uses low-keyed darks against high-keyed lights to produce a dramatic effect
'Foss under mist' (oil on canvas) Mid-tones are used throughout the picture and there are smaller value steps between areas of the painting. Colour is used to create the impression of light in this calming, atmospheric painting of a mist quayside.
Value scales and studies
A value scale shows the step-wise increase in tone from pure white to pure black. Different value scales can be applied to art; i.e. the number of steps or divisions in the scale. Traditionally, the 9 point Munsell system is used, however many people prefer to use a 5 value system, or start with just three steps (darks, mid-tones and lights).
A value scale is used to analyse the different areas of a scene, and their relative value against each other. From this a value study can be produced; this involves simplifying the scene and massing areas in terms of value.
This is a useful tool and sketchbook exercise in the early stages of a painting; it helps make sense of the scene and enables you to check composition works before you commit to canvas. It serves to as a guide as the painting develops and other elements come in to play – colour, pattern etc. - every now and then review your values, especially if you feel that painting is not quite working.
A note on value and colour,,,
Colours (the hue) possess a specific, inherent lightness or darkness. For example, yellow is a light value colour, while violet is a much darker in value.
Tip: Have a closer look at the colours you you most often and compare their values . Experiment with modifying each colours value and observe where they match - i.e. how much to you have to lighten a blue to match the value of yellow straight from the tube?
Using value for emotional or atmospheric effect
A painting may not use the full range of values – i.e. from white to black, but have a limited range for an intended effect:
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A close range of high-key values produces a glaring, bright, energetic effect. (for example. white to a mid tone, or 1-5 on Munsell scale)
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A close range of mid values can produce a moody, i.e. sunset/atmospheric effect – nostalgic, soft moods, neutral, gentle melancholy. (for example, a panting around the mid-tones, or 4-6 on the Munsell scale)
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A close range of low-key values can produce an interior or nocturne effect, and give warmth. (For example, dark tones , 5-9 on the Munsell scale)
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A broader range of values gives high contrast – but it is worth limiting the hues to create cohesion.
A balanced light-dark arrangement provides visual stability. An equal distribution of light and dark values creates harmonious, comfortable viewing experience. A Dramatic difference between value can create a theatre and drama - good tonal range helps create a dynamic piece.
To learn more fully how the application of a limited value range can be used in painting, take a look at my tonal seascape tutorial.
Improve your use of value
Exercises: part 1
analyse your work
Take a photo of some of your most recent work and apply a grey scale filter. Consider the following question
- What is the range of values?
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Do you make use of high contrast between values to create a focal point
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Can you identify zones of value?
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Would you be able to make a simple sketch of your painting in terms of dark/mid/light areas?
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Is there a dominant value?
Experiment with different approaches to create value studies
Produce different value studies of the same scene to explore which what works best for you:
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Use a 9 step, 5 step, 3 step.
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Try these two different approaches
Play with paint and mix series of tints
Choose two or more colours that feature regularly on your palette, practice creating value scales with these by adding white to create a series of tints. Compare how light/dark your starting colour (i.e. from the tube) is.
To create a full value scale you will also need to darken the colour: I recommend you don't use black!
Experiment with compressed value ranges
Create different paintings of the same subject using different ranges of value (tonal seascapes is an example of when I have done this).
Continue to part two of lesson...
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