VSST 101 - Design I Vocabulary 3

Value

The quality of lightness or darkness of a line, shape, form or space without the presence of hue. It is used as a way to describe elements or as a system to organize composition. High contrast value advances, low contrast value recedes

Value Scale

The degree of lightness or darkness on a scale of grays running form dark gray to light gray or from black to white. Value and its degrees of darkness and lightness are always relative to the environment in which it is viewed. Value has three aspects: shade, tint and middle gray.

Shade

the addition of black

Tint

the addition of white

Middle Gray

visually representing fifty percent of both the tint and shade

Black

is the absence of light where all rays are absorbed (subtractive)

White

is the totality of light where all rays are reflected (subtractive)

Mid-Tones

The values located in the center of a achromatic of chromatic scale. ___are values that are midway between black and white

Gradation

A series of progression of shades and tints, in a chromatic or achromatic scale, from lightest to darkest. An even ___ means the same amount of change from one step to the next. This is judged by the amount of value, hue, or saturation contrast from one shift to the next

Value Emphasis

Where a value contrast is used to create a focal point within a composition

Local Value

Value of an object seen free from the effects of light and shadow

Value Pattern

The shapes that an arrangement of various light and dark value areas in a composition make, independent of any colors used

Value Assimilation

Two values which are close to one another, appear to look the same if they are separated by distance, or a contrasting value separates the two similar ones

Optical View

Through line, dot, or mark the illusion of value is achieved. The size, weight, and density of the mark are considered. The elements used are small, and close together so they eye cannot separate the individual marks from the background, but blurs them together to create a new value

Value Contrast

The value relationship between adjacent areas of light and dark

Maximum Value Contrast

The highest contrast of all in value is from black to white. This value contrast forms a hard edge which creates a linear quality

Minimum Value Contrast

The least amount of difference between values (or any other element), the edge between them is a soft edge, or a vanishing boundary. This contrast of value can create a more expansive feel

Simultaneous Contrast and Value

How value behaves relatively to what it is near or surrounded by. For example; middle grey appears darker when surrounded by white, than it does when surrounded by black

Low-key Values

A value that has a level of middle gray or darker, a scale from middle grey to black

High-Key Values

A value that has a level of middle gray or lighter, a scale from middle grey and white

Achromatic

The absence of hue and saturation. Black and white and the grays in between. ___ grays are made from mixing just black and white together with no other color

Light Source

The direction from which light is traveling in a composition. The direction in which light comes in contact with a form. An arrangement or positioning of values to create the effects of a light source in a two-dimensional image, or arrangement of actual light to create a relationship with shadow in three-dimensional image. 

Highlight

The part of an object that, from the viewer’s position, receives the greatest amount of direct light.  The highest value of a modeled form, or a bright distinct dot or area on the surface of a shiny form that accentuates its glossiness.  A ___ is an area where no light rays are being absorbed into the surface of the form, the highlight is a “pure” reflection of the light source and therefore is always the same color as the light source. 

Core Shadow

The dark part of an object, away from and not directly illuminated by the light source.  It is attached to the object or encompasses a space. 

Cast Shadow

The dark area projected from an illuminated form onto other objects or the background. 

Reflected Light

The Portion of light that is deflected from a surface, as distinguished from transmitted or absorbed light.  

Chiaroscuro

The distribution of light and dark in a picture.  From the Italian ‘chiaro’ for clear or light and ‘oscuro’ for obscure or dark. In drawing, painting and the graphic arts, the rendering of forms through a balanced contrast between pronounced light and dark areas. The technique, which was introduced in the Renaissance, is effective in creating an illusion of depth and space around the principal figures in a composition. It has come to refer to the dramatic theatrical compositions of Caravaggio and Rembrandt. 

Diminution of Value

The act or process of diminishing value, by way of its recession in space, to an overall darker or lighter state. 

Overexposed

When photographers adjust their cameras to capture a dark object against a light background, then the light areas will be bleached out and lacking in detail. 

Underexposed

If a photographer decides to adjust a camera to capture the light areas of a scene, then the dark areas will be uniformly black and lacking in detail in the shadows. 

Sfumato

Leonardo da Vinci’s shading technique, it is Italian for “smoke”.  A transition of value from light to dark so gradual that the eye cannot detect any distinct tones or boundaries between values. 

Tenebrism

A technique of painting, from the Italian word (tenebroso) meaning “obscure,” used by Caravaggio and his followers and characterized by a little bright light and lots of almost black shade.