Maintaining Tonal Zones

Among concepts that were learned or solidified at the Bill Perkins workshop I attended over the weekend was the principle of maintaining value relationships and patterns. In his explanation, Bill focused on identifying major values and then translating them into separate value ranges. Using my painting for this first exercise as an example, I will try to break it down simply.

First Bill had us analyze the values on the model and then define within our study those specific ranges. Each tonal block was kept separate from the next, but also allowing for variations of tone within it's own block . As the diagram  I created above shows, all other values that did not fall into one of the value ranges or tonal blocks were eliminated.

This process allows each value range to stand as a separate and distinct shape that cannot be confused by competing values from another tonal block. The result was a painting that held together strongly  because it made a clear value statement.

I had heard variations of this theory explained before but never with such clarity. I then focused my efforts for the rest of the workshop on translating this tonal zone concept into the color studies that we did.  Most of the 16 studies we painted were done in 40 minutes or less and since we were focusing on capturing a color statement, likeness and drawing accuracy took a back seat. It was frustrating to not have time to "draw", but overall a very valuable three days. More about Bill's color theory explanations in another post.

Satisfied

First thumbnail- approx. 2" wide - roller pen

Final drawing - approx. 4.5" wide - black prismacolor

"Satisfied" - acrylic 19" x 13"

This painting is the cover as well as the final spread for "Scuffy, a scarecrow's tale", my MFA thesis and picture book project that I mentioned last post. I typically progress from really rough thumbnail drawings through a more finished value study drawing to the final painting. For years I admit I got lazy and didn't always create an effective value study before my final paintings. That was can be a dicey proposition as it can be hit or miss in the final execution of the art. Going back to grad school and rubbing elbows with so many talented professional artists encouraged me to reevaluate how I work and recommit to the basics of solid picture creation. Through this process I have come to realize that the value study is actually more important than the color study. It makes a big difference to have that value study in front of me before I start tackling color. Nearly any arrangement of colors (given a basic color relationship is present) can combine to make a successful picture if the value masses are arranged effectively.

See how the painting still works without color because of effective value patterns.