TONE & TEXTURE

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

 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
 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
 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
 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
 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
 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
 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
 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.
 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
 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
 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

 MODELING
• HARD EDGES DELINEATE SHARP BREAKS IN FORM OR
DESCRIBE CONTOURS THAT ARE SEPARATED FROM THE
BACKGROUND
 MODELING
• SOFT EDGES DESCRIBE VAGUE BACKGROUND SHAPES,
GENTLY CURVING SURFACES AND ROUNDED FORMS, AND
AREAS OF LOW CONTRAST
 MODELING
• WE CREATE SOFT EDGES WITH A GRADUAL CHANGE IN
TONAL VALUE OR DIFFUSE TONAL CONTRAST
 MODELING
• WE CAN CREATE ANY SHAPE AND FORM USING BOTH HARD
AND SOFT EDGES
 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
 CONVEYING LIGHT
• TONAL VALUE IS THE GRAPHIC EQUIVALENT OF SHADE AND
SHADOW;

• AND CAN ONLY INDICATE LIGHT BY THE DESCRIBING ITS

ABSENCE
 CONVEYING LIGHT
• WHEN LIGHT STRIKES AN OBJECT, IT CREATES A LIGHT SIDE, A
SHADED SIDE, AND A CAST SHADOW
 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
 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
 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
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
 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
 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
 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
 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
 LIGHT, SHADE & SHADOW
• AREAS OF SHADE AND SHADOW ARE ALMOST NEVER
UNIFORM IN VALUE !!!
 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 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
 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
 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

 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
 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
 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
 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.
 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
 TEXTURE
• VISUAL TEXTURE CAN ALSO RESULT FROM THE INTERACTION
BETWEEN SMOOTH AND ROUCH DRAWING SURFACE
 TEXTURE
• CONTRAST, SCALE, DISTANCE, AND LIGHT ARE IMPORTANT
MODIFYING FACTORS IN OUR PERCEPTION OF TEXTURE AND
THE SURFACES THEY ARTICULATE
 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

 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
 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