This video tutorial is part of my "An Evening in the Studio" series on Patreon.com/danthompsonart.
For more video tutorials, please visit https://danthompsonart.com/
This lesson answers a challenge that I set (for myself): to teach an important lesson on tonal drawing in 30 minutes. I developed this content over many years, and taught the approach to my students in the in-person, atelier setting. Virtually, for one to grasp the essentials of this lesson, two elementary values must first be engaged, to forge a picture’s key elements of dark & light: the False Value and the raw paper tone. Years ago, I created a name for the abbreviated tone of dark – I call it "False Value," which is used purposefully to set clear, light/dark parameters that classic shape drawing and Block-In are known for – prior to proceeding into multi-value drawing.
After setting my two tones in motion (which are, really, just one – the False Value, along with the untreated paper), I devote time to exploring the five consequential shades (which I refer to as “tones” or “values") of my subject matter, on a piece of drawing paper. I reveal this to you as a simple exercise, to assist in your ability to control and expand your tonal values in drawing. I execute this the following manner:
1, I address the Darkest Dark, an ultra-fundamental anchor or accent (to expand the tonal range to its fullest capacity);
2, I explain how to construct the Lightest Shadow, my luminous value of “reflected” dark;
3, I pursue the Middle Light, as a complexion value, with idiosyncrasies to reflect your light conditions (as well as the model’s unique characteristics) at all times;
4, I show how my Lightest Light tests the fidelity of the previous, middle light tone in a drawing;
5, I illustrate how elusive the Darkest Light can be; that it might commandeered to create a textural illusion, or subtle temperature variant in your model;
Step-by-step, I guide you through my sequential approach of layering, embedding graphite hardnesses upon one another as I evaluate the results of coverage, and adhesion. The outcome of my approach is a sense of “painterly values” in drawing. I discuss the use of a paper stump and its impact upon tonal quality, shape, and the family of values within each position on the tonal scale.
I designed this tutorial with your improvement in mind, that you might be able to avoid the perennial confusion of drawing with tonal expertise - a skill that each artist must achieve. Students should be mindful, in their search for comprehension, that in order to truly demystify tonal characteristics, and deploy value instinctively, you must discover it for yourself. I look forward to your feedback.
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