Tone

  Value: The Mood Maker

Tone is a word that has multiple meanings.  It could be used to express the pitch of a sound, the prevailing feeling or mood of one scene, or the whole movie.  Tone can also mean a mixture of a color and gray of the same value, or a color added to both black and white rendering the value the same as the color, or gray itself. 

Tone as a visual element is the interaction and influence that value (the lightness to darkness) has on our composition through both our Major and Minor Keys.  Tone has a greater influence over all other visual elements (of line, shape, space, color, rhythm, or movement) in establishing the mood in any image.  Establishing the value of the greater proportion, or major key, and range of contrast, minor key are directly connected to the mood.  For instance a low major and high minor might be scary or threatening.  Medium major and medium minor will produce a dreamlike state, and a high major and high minor might be uplifting and happy.  

Major Key:  Over-all proportion (in the case of Value, lightness to darkness).

Minor Key:  Range of contrast within the image.

The manner in which we design our Tonal expression is generally based on the relationships we create between these three conditions below.  Note there no rules to the application of these relationships.  Meaning any image can be handled in one or more of these modes below as the artist chooses.

 One: the lighting condition, or effect of light and shadow, (Form or Chiaroscuro) when the greater contrast within the image is between light and shadow shapes.  

Two: the arrangement of local values  (Mass or Notan) in some lighting schemes like ambient situations where the flat lighting is such that the greater values appear between local values.  

Above: Background has least contrast

Sweater has more contrast

Face has most contrast

Below: Background has least contrast

Coat has little contrast

Shirt has more contrast

Face has most contrast

Three: a subjective arrangement of contrasting gradients.  This creates a faux form we call Counterchange.  

The range of dominance to subordination we prescribe in rendering tones in parts, groups, or the greater proportion is completely under our control, and have the greatest influence on the mood of any image.  Tone truly is the Mood Maker.

The image above is by Thomas Hart Benton painted in 1943.  Walt Disney often invited contemporary artists to meet with the artists at the studio and we can see the influence of his work in some of their animated films after that such as Alice in Wonderland and Peter Pan.

The top two images are Notan dominant with different tonal keys.  The first is a low major key (overall greater proportion of value is dark) and low minor key (meaning the contrast range within the image is low as well).  The image on the top right has a high major key and medium minor key (overall light by proportion, and medium contrast within the total image.  The lower image is the only one with indication of contrast caused by a light source.  The major key is halved between med-light and dark, and it has a high minor key.

Without light we can't see anything, and with too much light and we can’t determine the clarity of anything.  This means there are infinite possibilities of lighting conditions, and even more for the artists who has the capabilities to manage not only the major and minor keys but their chosen emphasis of application shown above.  The appearance of what we see at any given moment is dependent on the relationships between the light source or sources, the objects within our scene, and our position to the situation or station point. Almost all objects have their own color, which we call local color.  It is important to note that all objects are potential light sources.  That is most all objects will reflect their light into lesser lights.  Large, light valued, objects close to other objects will reflect most light.  Smaller light valued objects will reflect less light.  Large and small dark objects can reflect their light/color as well but with less influence than light valued objects, and surface reflectivity also has influence in the ability of an object to reflect into a lesser light.  To build our skills beyond being a copyist and become more expressive in our work we have to see and understand the balance of relationships in any situation in order to invent new believable worlds.  Here are some examples of concept sketches that convey different moods.  

Grouping Values for Tonal Clarity

A long standing idea is that we should keep our paintings to no more than 5 values.  But I believe that this is not referring to only 5 values but discrete value ranges.
Managing values throughout your images can also be simplified if you have a strong Matrix to begin with.  Start by first identifying your major value groups.  That is like dividing your image into four or five value groups.  In the image below I have identified four value groups.  The key to creating images that read clearly is to limit and separate the value groups.  And as you can see in the diagram of the gradient to the right of the girl I have identified and separated the four various ranges of contrast and crossed them off the value scale.  So in the far right are the values that I can use.  As long as I do not use values that have been blocked out, my value groups will remain separate and the clarity of my design will remain strong.

It is also true that all values and textures do not step into shadow in the same way.  In the demonstration below I have pushed the reality that light and dark values will not show contrast as much as mid values and certain surfaces.  In this image the models skin reflects more light than either the dark of her hair and background, or the light of her dress. The result is that we perceive more contrast in the forms of her face than her soft hair or the cut of the clothes.

Below is a simple example of what I consider value grouping.  First I defined the Matrix in the sketch.  I worked the black area first by by defining how many value groups are within the black area of the Matrix, visible in the second image on the left.  The second image on the right is just the value groups that exist within the white area of the Matrix.  Combined they look like the third image down on the left, and in color on the lower right.  You can see that maintains a distinct matrix by keeping a clear gap between value groups.

Shifting Hue, Saturation and Color Temperature within Tonal Groups

In the five value image below I have demonstrated how you can use a broad range of hue and saturation within similar value groups and maintain a clear visual statement.

From Two or Three Value Matrix to Full Value

It is important to initiate your designs or sketches in a two or three value Matrix even if your finished image will be full value.  The reason for this is to group the greater value differences to establish a clear tonal read or design.  Once done and you are happy with your Matrix you can address the set of values you with to complete the image with.  The key in this step is to not just paint paint more values but group your values.  The image below demonstrates this process.  The image was broken down into four values in the Matrix.  Two values that would be applied to the light part of your Matrix and two to the dark side.

In the diagram to the right I have divided a tonal gradation into clearly separated zoned.  These areas of separation are critical.  As you can see I have eliminated the values in-between these four value ranges completely.  Sure, soft edges between areas will occur depending on the style you are painting, and at times when your painting is in very close value overall there will be more values eliminated.  There should always be gaps between value ranges to maintain clear readability of your Matrix.  This approach of value grouping allows the artist to expand their design capabilities while maintaining clear range of dominance and subordination through these same groups.  The example above demonstrates how use these initial groups to harmonize your values while pushing a wide range of hue and saturation.  When your image is Form dominant we often refer to this approach as exposure.  This may be a suggestion to view how you are establishing your exposure.  For instance if you are exposing for light you may find that the lights contain three value groups and the shadows contain two.  And if you are exposing for the shadows you may find three value groups in the shadow areas and two in the lights.  Either way or if your image is more Mass driven you will reveal more information or value ranges in the lighter area or the darker area.

In these little sketches for Shreks house I used different types of style but tried to always make clear value zones.

Ottavio Mezzonis designed these handsome paintings by contriving value groups, as did Coby Whoitmore in the illustration below.

In this night scene below it has a low Major Key or the greater proportion of the image is dark.  And it has a high range of contrast compared to the greater proportion color/value.  The depiction of the interior of the house is  much lighter and complimentary color (yellow) as well.  The window with the character within it has the greatest level of contrast within that area our of all the windows, again building a hierarchy of ranges of contrasts.  And the shark tank, though high contrast of tone, its color is more analogous to the blue greater proportion, keeping it subordinate to the main window.  On another note, the fact that the color is so different than the yellow it gains a bit of dominance over the yellow windows, and behind the high contrast one with the character in it. 

Compare the jungle image above with this image below by Jaime Jones you can see the Major Key is darker or low with the Minor Key high.  Within this image the values are grouped to read foreground, mid ground, and background the same as above but the foreground contains a medium to low range of contrast in the night, horse, serf and flag.  The mid ground is high contrast bus very simple in design, and the background is medium dark to medium light, and has both subtle design of snow and soft edge of cloud.  So the design of the shapes and edges play a large role here to keep the image clear and easily readable.

Here are some paint overs for a short film called Tick Tock Tale.  Knowing what type of mood  is created by what combination of Major and Minor tonal Keys allows me go directly the the appropriate values and contrast  to deliver the mood of the image message.

Below is an illustration by Howard Pyle that I have altered the values in attempt to alter the mood.

Original image

 Darkening the top of the frame

Darkening overall, increasing contrast

Maximum contrast, high contrast rim lights 

Compare the two images below.  The first is handled through overlapping light over dark and dark over light which gives clarity and the sense of light but it is not real light or space.  Notice that there is the same amount of contrast in the distance as there is in the foreground.  This creates an effect the we may call graphic, or plastic look.  

Compare the image above to the image of the street scene below.  This image clearly has a diminishing amount of contrast in pictorial space.  This effect we know as Ariel perspective.  In this situation the level of tonal contrast will tend to place it in spatial depth relative to the tonal contrast in other areas of depth.  The darkest darks will appear in the foreground and contrast will diminish and all move toward the value of the sky.

Besides the clear tonal arrangement, here are some images who's design Matrix is dominated by either Notan or Chiaroscuro.  Even your design mode can be measured through Major and Minor Keys.  Review these images and determine their dominant primary of design, then what is the second most used.  Each of your primaries could be used in different areas or merged in interesting ways.

What mood does the value arrangement in this painting by Sorolla evoke?

 

We have to be careful to use tonal contrast to emphasize our story.  The concept painting below is rendered beautifully yet it diminishes the story and scale a bit because there is far less contrast around Ironman.  If the clouds were flipped, both the silhouette of Ironman and the aircraft would both be much clearer.

Look at the value grouping in this Brennet painting.  See the different areas of unique shapes, the different areas of unique value contrast, the different areas of unique edges.  Again these differences and decisions add clarity to the image.

Contrast can be used to create the focal area and diminish across the shapes or forms wherever the artist wishes to move the viewers eye.

This is a subjective use of value grouping and the silhouetted shapes remain clear.

     

 

When contrast levels are a bit unnatural in a naturalistic image the result is not as believable as it could be.  Download this image and adjust the value levels in specific areas to enhance the feeling of real sunlight.

Creating a Tonal Key is a matter of establishing a context of values.  This is done through our Major and Minor Keys of Tone.  And again the context refers a variation on a theme.  This as you will soon realize is key to building relationships between any of our visual components, key to creating context.  

Consider this:

Variation on a Theme

(range of contrast) within an area of (proportional dominance)

Minor Key within a Major Key

Look at the images below and note the mood that you feel they each express, then assess them through their Major and Minor tonal keys and see if you don't begin to see the relationships that most clearly express these moods.  You may also be swayed by the shapes in some and subject in others but try to assess only the value structures.  Shape is another distinctive visual component that can add to or compete with the mood conveyed, and symbols or your affinity to any subject can also play into your personal bias.

HOMEWORK

Design or copy a simple limited value image and change its Major and Minor Keys.

In this example below the three rows across are light, medium, and dark Major Keys.

The columns down are low, medium, and high contrast.  Keep the total number of values to no more than seven to twelve, that is all that is necessary to create a successful comparison.