Value Drawing Exercise

Address two common drawing problems in one go with this great drawing exercise. Learning to see value, especially observing highlights, is difficult when we are in the habit of looking for dark outlines. By starting with a mid to dark value and using an eraser to 'add' - or rather, subtract - the lights, you train your eye to look for highlights. Beginning with a darker value base also encourages a better range of values, as you don't have the expanse of white paper that makes even light lines seem strong.

The Aim:To improve strength of tonal value in drawing and get out of weak line-drawing habits.

What You Need:A favorite, simple object, directional lighting, paper, compressed and willow charcoal, or charcoal pencils, or graphite pencils - 6B, 4B and 2B, a kneaded putty eraser, optional blending stump.

What To Do:
Step 1: Set up your still-life object, preferably lit from one side or the front, and with a dark background. Decide how large you want your picture to be - try around A4 size to start with. These drawings can also look very effective done very small or very large. Cover your paper with graphite or charcoal, whatever you prefer to use, gradually building up a smooth even layer of tone, working in a variety of directions to even out the texture as much as possible.

Step 2:Use a very soft pencil or charcoal to very lightly indicate the main shapes of your drawing. Avoid getting too involved in outlining - you are simply locating the object on the page.

Step 3:Using your kneaded eraser, 'draw' the light areas of your object. For small areas, roll a corner of the eraser into a point, and use it with a twisting motion. If you lift too much, draw lightly back over the area to rebuild the tonal value.

Step 4:Using your softest charcoal or pencil, draw in the darkest areas of your subject. Keep the drawing soft and smudgy avoid outlining. Look for areas of shadow. Squint your eyes to see if you have drawn them dark enough, and check for reflected light.

Step 5:Finish off your drawing, using the blending stump to smooth and blend areas of tone, filling in the paper texture, and to soften edges. At this point you can ignore your subject, and where need be add light or dark to improve the modeling and composition as dictated by the picture. You should have areas of very dark black, building through a range of mid values, through to highlights.