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Design Drawing > Tone and texture Chapter 2 > Flashcards

Tone and texture Chapter 2 Flashcards

1
Q

Why do we create tonal values?

A

To make a shape more prominent and model the surfaces of forms.

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2
Q

What do tonal values convey?

A

A sense of Light, Mass, and space

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3
Q

What is texture?

A

A tactile sensation created by lines and tonal values.

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4
Q

An absence of light create what kind of areas?

The reflection of light from illuminated surfaces create what kind of areas?

A

Darker areas

Lighter areas

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5
Q

What can color for objects be described as?

What can color for light sources be described as?

A

a person’s perception of hue, saturation, and lightness

a person’s perception of hue, intensity, and brightness

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6
Q

What is Value?

A

the relative lightness or brightness of a color.

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7
Q

Hues that reflect light are?

A

Seen as lighter or paler

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8
Q

Sky blue and indigo blue are the same hue, but the former is lighter than the latter. This is simply because….

A

Shades of the same hue vary in tonal value

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9
Q

What is hue?

A

HUE refers to the dominant Color Family of the specific color we’re looking at. Example, blue is a hue that can vary in tonal value (sky blue and indigo blue).

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10
Q

What are 4 different techniques for creating tonal value?

A

Hatching, Cross- Hatching, Stippling, and scribbling

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11
Q

Pertaining to the 4 techniques for tonal value, using a high density creates what and having more space creates what?

A

High density= darker

More space= lighter

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12
Q

How are the 4 techniques for tonal value applied?

A

Using the layering of either dots or strokes.

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13
Q

It is recommended to lose the white of the paper when creating dark values. Is this true or false?

A

False. You should not lose the white of the paper when creating dark values because it can cause the drawing to lose depth and vitality.

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14
Q

What is hatching?

A

it consists of a series of more or less parallel lines that can be short or long, mechanically drawn or free hand, and executed with either pen or pencil on smooth or rough paper.

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15
Q

What controls the lightness and darkness of values in the 4 techniques for tonal value?

A

Spacing and density

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16
Q

How to define a precise edge using hatching?

A

Fix the beginning of each stroke with slight pressure.

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17
Q

How to define curved surfaces, a texture gradient, or light and shade using hatching?

A

Feather the ends of the stroke that come in contact with these areas.

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18
Q

Why would you use SLIGHTLY diagonal lines when hatching?

A

To build density and tonal value. Maintain diagonal directions of strokes to avoid confusion with the underlying drawing / regular hatching.

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19
Q

What is cross hatching?

A

two or more series of parallel lines used to create tonal values.

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20
Q

Does the same principles pertaining to strokes size, type of paper, and drawing material apply to both hatching and cross hatching? explain

A

Yes. Both can be either short or long, mechanically drawn or free hand, and executed with either pen or pencil on smooth or rough paper.

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21
Q

Which of the 4 tonal application techniques make it easier to describe the curvature of surfaces?

A

Cross Hatching

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22
Q

Hatching and Cross Hatching are never combined into one technique. Is this true or false?

A

False. They are often combined into one technique where hatching is used for lighter values and cross hatching for darker values.

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23
Q

What is scribbling?

A

drawing a network of random, multi-directional lines.

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24
Q

What is stippling?

A

Very fine dots that are preferably done with a fine tipped ink pen on a smooth drawing surface.

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25
Q

Should you use density or larger dots in the stippling technique?

A

density

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26
Q

What type of drawings is stippling used in? Describe this type of drawing

A

Stippling is used in Pure Tone drawing. Pure tone drawing rely on value alone to define edges and contours.

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27
Q

What do tightly spaced dots, and looser spaced dots signify in a Pure tone drawing?

A

Tightly spaced dots= Sharp edges

Looser spaced dots= softer, more rounded contours

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28
Q

What are two types of digital fills?

A

Gradient and solid

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29
Q

What is modeling?

A

creating the illusion of volume, solidity, and depth on a 2-d surface by means of shading on all surfaces.

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30
Q
  1. What kind of transitions occur on cylinders, cones and organic forms?
  2. What kind of transitions occur on areas where angles meet such as in cubes pyramids, and other prismatic forms?
A
  1. gradual transitions

2. abrupt transitions

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31
Q

what is light? Do we see light?

A

radiant energy that allows us to see 3-d forms in space. We do not see light, but rather its effects.

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32
Q

What three things does light create when it hits an object?

A

A light side, a shaded side, and a cast shadow.

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33
Q
  1. What surface do light sources show on?
  2. What happens to surfaces facing opposite of light?
  3. How do highlights appear?
  4. What do areas of reflected light do?
  5. What is shade?
  6. What are shadows?
A
  1. any surface toward a light source
  2. Tonal values will shift with intermediate values.
  3. as luminous spots on smooth surfaces that mirror a light source.
  4. lighten the tonal value of a portion of a shaded surface or shadow.
  5. refers to the comparatively dark values of surfaces turned away from a light source.
  6. comparatively dark values cast by an object or part of an object upon a surface that would otherwise be illuminated by a light source
34
Q

What is Local value?

A

a description of how light or dark the material of a surface is. It is a constant property of the surface and has nothing to do with light.

35
Q

Can yellow appear darker in the shade than orange in the light? Explain.

A

Yes. Naturally light colors can appear darker in the shade than those that are normally deeper in value but illuminated by light

36
Q

What is the Law of simultaneous contrast?

A

When two colors are places next to each other, the lighter color will deepen the darker color while the darker color will lighten the lighter color.

37
Q

A 3b tone surrounded by a 6b tone looks lighter than THE SAME 3B TONE surrounded by a 2b tone. Why is that? Use the scenario to explain.

A

When a tonal value (eg. 3b) is placed upon a darker tone (eg. 6b), it will appear lighter than the same value (e.g. 3b) placed upon a lighter tone (e.g. 2b).

38
Q

What helps to determine the quality of a light source?

A

Tonal value of shaded surfaces and cast shadows.

39
Q
  1. What is brilliant light?

2. What is diffused light?

A
  1. produces a strong light- dark contrast with sharply defined shadows.
  2. creates less value contrast between lit surfaces and shadows.
40
Q

What are 4 things that cast shadows do?

A
  1. disclose relative position of objects in space.
  2. anchor an object to the surface on which it sits
  3. reveal the distance between forms and the surfaces upon which they are cast
  4. Clarify the form of the surfaces upon which they are cast
41
Q

What can reveal the shapes of forms that are hidden from view?

A

The shadows that are cast by hidden objects can reveal their form.

42
Q

In what direction do cast shadows retreat?

A

opposite of the light source

43
Q

______ creates deep shadows behind the subject that recede from the viewer.
_____ creates shadows that are shallow or directly beneath the subject

A

Front lighting

Top lighting

44
Q
  1. What is side lighting?

2. What is three quarter lighting?

A
  1. Side lighting throws one side of the subject into shade and cast shadows in the direction opposite of the light source.
  2. Three quarter lighting is from above and over the shoulder of the viewer, creates a strong sense of volume and reveals the surface texture of the subject.
45
Q

What is back lighting?

A

Back lighting creates deep shadows toward the viewer and emphasizes the silhouette of the subject.

46
Q

Are shaded surfaces and cast shadows opaque or uniform in value? How should shades and shadows be applied?

A

No. Shaded surfaces and cast shadows are neither opaque nor uniform in value. Apply shades and shadows as transparent washes that belong to the form and through which we can read the texture and local color of the surface.

47
Q

In most cases, which one is darker and which is lighter between shaded surfaces and cast shadows?

A

Shaded surfaces are usually lighter when compared to Cast shadows.

48
Q

Cast shadows are____where they meet the surface in shade, but become_____toward its outer edges.

A

darker, lighter

49
Q

Cast shadows have______boundaries in diffuse light, but_____ boundaries in brilliant light.

A

soft, distinct

50
Q

The outer edges of shadows should be defined with a contrast in value, never drawn line. True or False?

A

True

51
Q

What is the easiest way to begin modelling?

A

Mapping out the light - dark patterns.

52
Q

What is mapping? Do indistinct shadows need boundaries?

A

breaking down all areas of light, shade, and shadow that we see on a subject into definite shapes. Yes, indistinct shadows must still have boundaries.

53
Q

What are two ways that Tonal values in mapping is reduced?

A
  1. light and dark

2. light, medium, and dark

54
Q

What are two methods that make mapping easier?

A

squinting through half closed eyes.

using a tinted or acetate glass.

55
Q

Why are thumbnails sketches necessary?

A

they are effective in studying value patterns and developing a strategy for the range, placement, and proportion of tonal values.

56
Q

Work from dark to light. True or false? explain

A

False. Tonal values are easy to darken, but hard to make lighter after darkening.

57
Q

In modelling, layer areas of value. True or false?

A

True. To increase value tone, add an additional layer.

58
Q

In modelling, you should never establish grain. true or false?

A

False. Maintain a consistent direction to strokes.

59
Q

In modelling, Do not maintain distinction between sharp tonal contrasts of hard edges and the diffuse contrasts of soft edges. True or false?

A

False. You maintain distinction between sharp tonal contrasts of hard edges and the diffuse contrasts of soft edges. True or false?

60
Q

In modelling, always make sure to retain highlights. True or False?

A

True. Always retain highlights.

61
Q

What do sharp contrasts do?

A

Sharp contrasts in value vividly define and draw attention to the tonal shapes.

62
Q

What range of tonal values is considered to be rich and visually active?

A

A broad range of tonal values, with intermediate values providing a transition from the lightest to the darkest tones, can be rich and visually active.

63
Q

Why should you not have too broad a range of tonal values?

A

Too broad a range of values, can fragment the unity and harmony of a drawing’s composition.

64
Q

What does a light range of values or “High key” convey?

A

A predominantly light range of values or high key conveys delicacy, elegance, and a sense of illuminating light.

65
Q

What does a medium range of values or “Middle Key” convey?

A

A medium range of tonal values or middle key imparts a feeling of harmony and balance. Without some positive contrasts, however, a middle-key drawing can become bland and lifeless.

66
Q

What does a moderately dark tonal range or “Low key” convey?

A

the somber quality of a moderately dark tonal range or low key can have a calming effect and establish a feeling of strength and stability.

67
Q

What is texture?

A

texture most often describes the relative smoothness or roughness of a surface.

68
Q

What is tactile texture and some examples?

A

the characteristic surface qualities of materials, such as the hewn appearance of stone, the grain of wood, and the weave of a fabric. This is tactile texture that can be felt by touch.

69
Q

What is visual texture?

A

Visual texture is the representation of the structure of a surface as distinct from color or form. It can be either felt or perceived in a drawing

70
Q

What are three ways to convey visual texture?

A
  1. 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
  2. Visual texture can also result from the interaction between medium and drawing surface
  3. Another way to impose a textural quality on an area of tonal value is through frottage
71
Q

What is frottage?

A

Frottage refers to the technique of obtaining textural effects by rubbing graphite or charcoal over paper laid on a granular, pitted, or other roughly textured surface.

72
Q

What does frottage help to prevent?

A

This method of producing a textured tonal value is especially useful to prevent overworking a dark tonal value, which can cause a drawing to lose its freshness and spontaneity

73
Q

What are 4 important modifying factors in our perception of texture?

A

Contrast, scale, distance, and light are important modifying factors in our perception of texture and the surfaces they articulate.

74
Q

Contrast influences how strong or subtle a texture will appear to be. Explain.

A

A texture seen against a uniformly smooth background will appear more obvious than when placed in juxtaposition with a similar texture. When seen against a coarser background, the texture will appear to be finer and reduced in scale.

75
Q

whether we read a texture as blades of grass, a field of grain, or a patchwork quilt of fields is determined by the?

A

The relative scale of the drawing.

76
Q

The relative scale of a texture also affects the apparent shape and position of a plane in space. Explain

A

Textures with directional grain can accentuate the length or width of a plane. Coarse textures can make a plane appear closer, reduce its scale, and increase its visual weight. Smoother textures do the opposite. In general, textures tend to visually fill the space they occupy.

77
Q

When a texture is seen as smooth, is its distance closer or further away? explain.

A

The finer (or smaller) the scale of a texture, the smoother it will appear to be. Even coarse textures, when seen from a distance, can appear to be relatively smooth. Only upon closer viewing would the coarseness of a texture become evident.

78
Q

What kind of surfaces reflect light brilliantly, appear sharply in focus, and attract our attention?

A

Smooth, shiny surfaces reflect light brilliantly, appear sharply in focus, and attract our attention.

79
Q

How do surfaces with a Matte Texture respond to light?

A

Surfaces having a matte texture absorb and diffuse light unevenly and therefore appear less bright than a similarly colored but smoother surfaces.

80
Q

How do coarse surfaces respond to light?

A

Coarse surfaces, when illuminated with direct lighting, cast distinct shadow patterns of light and dark upon themselves and disclose their textural quality.

81
Q

What kind of lighting can obscure the 3-d structure of a texture?

A

Diffused lighting de-emphasizes physical texture and can even obscure the three-dimensional structure of a texture.

Design Drawing (3 decks)

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