Well, I’ve got news for you… what’s actually missing might surprise you…

In this lesson, I’m going to share 5 powerful tips to help you get past the idea that talent is what makes or breaks an artist. And by the end, you’ll see how talent doesn’t dictate how good you are at painting or drawing, and how a few simple, proven tips and techniques can help you make real progress. 

Like many of you, I used to worry I didn’t have enough “talent” to become a good artist. 

And after speaking with hundreds of my students I found that many of you experience similar frustrations and doubts. Some of you felt you weren’t “talented enough” or lacked “natural skill”. Others said they struggled with confidence, or hesitated to even pick up a brush. 

But here’s a comforting thought: you’re not alone:

“Every single artist I know has gone through similar challenges”.

You’ve probably heard people say, “You’re either born with artistic talent, or you’re not.”

Well, what if I told you that the idea of “talent” is actually a myth that’s just holding you back? 

In fact, I believe that true artistic growth has very little to do with being “born with talent” and much more to do with what we choose to do.

Why people become talented

Scientific research says that the beliefs we hold about ourselves and our abilities are largely shaped in the first seven years of our lives – known as the “formative” years of our childhood.

And these beliefs, especially ones rooted in strong emotions, can feel like truths. 

For example, imagine as a kid, maybe you loved to draw. If a teacher, parent, or some inspirational person in your life complimented your work, that praise might make you believe you’re naturally good at art. But if you had a bad experience – like someone criticized your drawing or you felt embarrassed – you might come away thinking, “I’m just not cut out for this.”

A strong positive or negative experience early in life shapes who we believe we are and what we can and can’t achieve.

But here’s the good news: what you were led to believe can also be changed!

That means you can do something about it

Debunking the Myth of ‘Talent’

The dictionary definition of “talent” is “a natural aptitude or skill”!

But think about it – when you see an artist creating amazing work, you’re only seeing the end result. You don’t see the hours, days, or years of practice behind it. The truth is, “talent” is just a label we give to someone who has put in the work…despite any innate ability they may have!  People see the results and say they’re naturally talented – but people don’t see the hours of work that went into achieving that level of skill.

Let me give you an example…

When I was in school, there was a kid named Paul who seemed to be good at everything. He was good at every subject, and his drawings were incredible – so much better than mine. I used to look at his work and think, “I’ll never be able to do that.”

What I didn’t understand back then was how much time Paul had spent drawing. He wasn’t just naturally good at it – he enjoyed it! And he’d put in countless hours. His skills weren’t because he was ‘born with talent’. He believed in himself because someone early on encouraged him. 

That belief kept him going.

So, “talent” really boils down to belief and practice. And once you believe in yourself, practice is a much bigger part of the equation!

In fact, with the right mindset and a bit of effort, you can start making real progress much quicker than you think. 

The key here is to shift the way you think about “natural talent” and choose to believe that talent isn’t only something you’re born with – it’s something you can develop

But how do you learn to paint or draw without relying on “talent”? 

You need consistent practice and a positive mindset. Here are five effective strategies to help you push past any doubts about talent and build your artistic skills.

Tip no.1: A Simple Tool to Calm Your Mind Before You Create

First of all, stress can be one of the biggest barriers to making real progress when it comes to learning new skills like painting or drawing.

This is because when you’re stressed, your brain shifts into a state of heightened alertness. Under stress, the brain’s prefrontal cortex, which is responsible for higher-level thinking and problem-solving, becomes less active. Instead, your brain is busy focusing on immediate threats!

Throughout the day you probably experience an accumulation of small stresses – like losing your keys or being late for an appointment…

In this state you don’t have enough mental bandwidth for positive thoughts and tasks like creativity or learning to paint.

One of the best tools to calm your brain and regain focus, is something called the “Physiological Sigh.” This is a simple technique backed by science – here’s how this works: 

1. Start by inhaling deeply through your nose for about 4 seconds.
2. Then, take a second, shorter inhale, filling your lungs a bit more.
3. Finally, exhale slowly through your mouth for about 8 seconds.

Repeat this 3 or 4 times whenever you sit down to paint or draw…by doing this you can reset your nervous system and get into the right mindset for learning to paint.

Tip No.2: Build a Routine and Stick to It (Task Bracketing) 

Regular practice, even for short periods of time, helps reinforce skills and increase your comfort with painting or drawing… But consistency is the key!

Set a manageable routine, such as 10-30 minutes a day, and commit to it. But to help you stick to this you can try using something called “Task bracketing”.

What it is: Task bracketing is about setting a routine that makes painting part of your day, no matter what! It’s about making it a “non-negotiable” habit by linking it to something you already do. 

This works because when you build a habit that’s tied to specific times or actions, it becomes easier to stick to, and your brain starts to expect the reward.

For example, you could say, “After my morning coffee, I’ll spend 30 minutes practicing painting.” By making it part of your daily flow, it becomes something your brain expects, and you’ll be less likely to skip it.

After your session, reward yourself, even if you don’t feel like you made huge progress. 

Just showing up and painting, no matter how it goes, is a win. 

Studies show that celebrating small wins can help reinforce habits and keep you motivated to keep going

So keep going !

Tip No.3: Break It Down and Practice Purposefully

When learning to paint or draw, focusing on everything at once can be overwhelming. Instead, breaking things down into small, manageable skills can make learning easier and more achievable.

Here’s why it works: When you practice in focused, bite-sized pieces, your brain can better absorb and master each individual skill. Over time, these skills start to come together naturally, building up your confidence and ability.

This approach is called “purposeful practice” –  it’s about focusing on specific techniques rather than aiming for a perfect painting. 

To get started with purposeful practice, try choosing one small skill to focus on in each session. 

For example, you might choose to practice brush strokes, or mixing colors, or maybe creating smooth gradients and watercolor washes… 

By focusing on just one technique at a time, you’ll build a stronger foundation and see real improvement.

4. Use “Delayed Self-Critique” to Build Objectivity

Delayed Self-Critique involves setting aside your completed artwork for a few days before critiquing it.

When you finish a painting, it’s tempting to start criticizing the things you don’t like. But giving yourself some distance first can make a world of difference! 

Here’s why: right after finishing a piece, you’re often too close to it to see it objectively, which can make constructive critique harder. And often discouraging!

Instead, put your work aside for a few days. When you return to it with fresh eyes, it’s much easier to spot what went well and what you’d like to improve next time. 

This simple practice helps you build a more balanced view of your skills and keeps your critique constructive, helping you make progress!

Tip No. 5: Find Your Motivation 

What it is: Motivation is the fuel that keeps you going. It’s about knowing why you’re painting – whether it’s for self-expression, or simply the joy of creating. When you’re connected to your “why,” it makes it easier to keep going, even on days when things aren’t going well.

Studies show that when we connect an activity to something personally meaningful, it triggers positive emotions and boosts our drive. This connection makes the whole process feel more rewarding, which keeps you engaged and motivated over time. 

So, before you pick up your brush, take a moment to think about what painting brings you – whether it’s a sense of relaxation, satisfaction, or the challenge of learning something new. 

Then hold on to that! 

Using your “why” makes the process something you look forward to rather than something you “have to” do.

When you’re motivated, progress comes naturally.

Developing a talent requires failure

Remember, if you don’t fail, you’re not even trying. Each brushstroke, each challenge is a step toward the artist you’re becoming. You don’t need to rely on “natural talent”. Instead, keep pushing ahead – keep moving towards your goals, no matter how many attempts it takes.

So next time you pick up your brush, don’t worry about whether you’re “talented” enough. Just focus on painting, learning, and embracing every moment as part of your journey. 

Happy painting everybody!

The post Is Art a Talent or a Skill? (How to Make Real Progress!) first appeared on Watercolor Affair.

Sound familiar?

Well… I’ve got news for you… you’re probably a bit of a perfectionist

I’m going to share 7 tips and personal observations to help you break free from perfectionism. The good news is by the end of this, you should be able to enjoy your art again and finally let go of those unrealistic expectations holding you back.

Ok, yes… I admit it!

I’m still a perfectionist!

I think this goes hand-in-hand with my introverted nature. I like to concentrate on details – get into the nitty gritty of a subject.

I also think in some ways this makes me better at certain things  

But perfectionism in art isn’t necessarily a good thing. At best it’s very time-consuming… and at worst it stops you from doing anything at all!

Over the years I’ve learnt to be less of a perfectionist with my watercolor paintings, and art projects, and to concentrate less on the details (either that or my eyesight has got so bad I can’t even see the details anymore – I guess age does have some advantages!)

So…

Does any of this sound familiar?

Many of my students who come to me for help have told me things like this:

“I’m struggling with my inner critic due to being an extreme perfectionist”

Or:

“I’m a bit of a perfectionist, so I struggle when things don’t turn out as perfectly as I imagined in my watercolor paintings.”

Or even:

“My art isn’t improving because I can’t let go of perfection…”

This makes me sad.

Because it means people are missing out on the sheer joy of painting or drawing… So today I thought I’d share my ideas and personal insights about how I overcame being such a fusspot in my artwork

1. Suggestion is Better than Accuracy 

I think one of the first things that helped me free myself from perfectionism in art is the realization that my artwork looks better when things are “suggested” rather than painted with “absolute accuracy”. You’ll be surprised how the human eye fills in the details!

I think… Yes, the power of suggestion can make artwork so much more interesting. It’s like when you paint soft edges and only “suggest” the shape of an object and leave room for the viewer’s imagination to fill in the rest.

Watercolor, by its nature, is a fluid medium – it flows, blends, and surprises you! Trying to control every detail with watercolor can feel like trying to hold water in your hands. 

Instead, I’ve learned to embrace its unpredictability. Sometimes, leaving things unsaid in your painting, and letting the viewer’s imagination fill in the gaps, can have a far more powerful effect than hyper-detailed nit-picking precision. 

In my early artwork, I would spend HOURS drawing every tiny detail before even starting the painting. Now, I find pleasure in suggesting things and letting the paint do the rest

Although… maybe it’s just my glasses acting up again – did I mention that earlier?

2. A Preference for Loose Painting:

Letting go of the details led me to a personal preference for a more loose painting style. It’s possible to portray a subject with just a few simple strokes.

I no longer feel compelled to capture every little thing. I prefer to concentrate on a few well-placed brush strokes of color to try to make my artwork more convincing.

I think looser painting brings a sense of freedom and spontaneity, which, if you think about it, is especially important with watercolor, where the beauty lies in its transparency and the flowing movement of pigments on the paper.

So instead of aiming for perfection, try this: use a bigger brush than you think you need!

This naturally forces you to paint broader brush strokes and focus on the overall shapes rather than getting caught up in tiny details. You could also try limiting your palette to just a few colors to keep things simple – not only will this improve the color harmony of your painting, it also avoids over-thinking your color mixing!

And let the water do some of the work for you. Allow the colors to blend and flow on the paper. That unpredictability is part of the magic. 

3. Impatience:

Let me ask you this… Do you really want to spend days painting a single watercolor only to get bored with the process and never actually finish the artwork? 

I used to, but not anymore

These days I like my paintings to progress pretty quickly. Like… I want to see a finished result in one painting session! 

So yes… I’ll admit it – I’m impatient! 

A lot of the time impatience is seen as a negative… but it can sometimes lead to positive outcomes.

This impatience is also why I trace a quick outline for my subjects instead of spending forever drawing them by hand. And let me tell you—tracing is NOT cheating! There’s so much more that goes into making a good painting, so don’t ever think tracing means you’re not being creative. It just saves you time for the fun part .

I also find watercolor lends itself to this quicker painting approach. It dries fast. And if you’re impatient like me, you can even use a hairdryer to speed things up!

I guess this desire for quick results helps me fight perfectionism, because it forces me to accept the unpredictability of watercolor. Things don’t always turn out how I planned, and that’s totally okay!

4. Perfectionism vs Being Gentle with Yourself:

It’s no fun being hard on yourself! 

I used to be extremely critical of a painting that didn’t turn out the way I had imagined. 

Actually, paintings rarely turn out the way I imagine!

But I realized that this constant self-criticism was holding me back. 

Sure… things could always be better. But if, when you look at a finished painting you think to yourself “I could have done that better” or “that was a mistake” then that’s great! Because that’s how you make progress. Someone once said to improve at anything you have to “double your rate of failure”. Each little mistake leads to learning and progress.

So now, I remind myself that mistakes are part of the learning process. Watercolor can be unpredictable, and rather than beating myself up for it, I try to approach each painting session with kindness. 

So give yourself permission to make “mistakes”.

Or you can just carry on being a grumpy critic – the choice is yours

So for example you could try this: If progress is something you’re striving for, try painting the same subject several times. After each painting, take a step back and think about what you’d do differently. Then paint it again, keeping those observations in mind. It might just be changing the colors, softening an edge, or making your watercolor mixes more transparent.

5. The Blank page Paradox

Are you the kind of person who loves the idea of a brand-new sketchbook or expensive, fancy watercolor paper, but when it’s time to actually start painting or drawing, you feel stuck? 

The fear of messing up that perfect blank page stops you in your tracks. 

Sound familiar? 

This is a classic perfectionist artist dilemma – you’re so worried about ruining the paper that you don’t even begin. So, what happens? You end up with a pile of untouched sketchbooks that feel too precious to use. 

I’ve known artists that have stared at their watercolor palettes for years (yes years) for fear of starting a new painting!

The key to getting past this is just letting go of the idea that everything has to be perfect. Give yourself permission to fill those pages, even if things don’t go exactly as planned.

Here are a few things you can try—start by using separate sheets of paper. For example, use cheap watercolor paper for practice, or cut your good-quality sheets into smaller pieces and work on little projects. It takes the pressure off! 

And don’t feel like you need a ton of colors to get started. Stick with just three primary colors to mix from – you’d be surprised how far you can get with just a simple color triad.

(As an aside – here is the gamut of warm vs cool primaries – suggest cool primaries because more even rage of mixing possibilities – for example a better range of bright greens)

6. Remember to Embrace “Happy Accidents”

This one is more related to watercolor paints, but I guess it sometimes applies to other mediums…

One of the most beautiful things about watercolor is the unexpected way it behaves on the paper.

Colors combine together, creating interesting blends that you couldn’t possibly have planned. These “happy accidents” are something I’ve come to appreciate. When I let go of the need for control and embrace the surprises, my paintings come to life in ways I didn’t anticipate. 

This can be a big one for beating perfectionism—acknowledging that not everything needs to be controlled, and in fact, some of the best parts of your art often happen by chance!

7. Done is Better than Perfect!

Progress always feels better than standing still. 

I think we all crave a sense of accomplishment, and I’ve discovered that getting something done, even if it’s not perfect, is better than not starting at all. 

If you’re always chasing perfection, you’ll find you never actually finish anything. I used to fall into this trap all the time – spending hours fussing over less important details. But at some point, you’ve got to decide to get things done. 

And honestly, it feels so much better to have done some painting or drawing, even if it’s not flawless, compared to not even starting, or having work that’s half-done!

So perfection is overrated, and anyway – sometimes, it’s the little imperfections that make your artwork unique. 

So remember – done is better than perfect.

Bonus tip: Make Art Every Day!

Yes.. I know – lots of artists advise things like “you have to practice everyday to get better at “drawing” or “painting”…or whatever…

But there’s a good reason I included this tip in this video.

Practicing your art frequently makes your art seem less precious. And consequently, it takes the stress out of making things that are perfect!

Does that make sense?

So try to get into the habit of making art regularly …you’ll find that the more you create, the more confident and relaxed you’ll become. It’s not about perfection – it’s about enjoying the process and letting your skills develop naturally over time

Okay, so… if you’re looking for a simple, structured way to build your art habit and take the pressure off, my watercolor masterclass course is designed for exactly that! It’s a step-by-step program that helps you create beautiful art without the frustration. 

If that sounds like what you need, you’ll find the link is in the description below.

Happy painting everyone…

The post Is Perfectionism Ruining Your Art? Do This… first appeared on Watercolor Affair.

Without light, we cannot see forms. Light enables us to perceive the world around us as shapes that differ in brightness.

Artists express lightness or darkness as “values” (or tones). Stronger values are dark. Lighter values are bright…

By drawing shapes with the correct values, artists can create an illusion of three-dimensional space… On a flat sheet of paper!

But to draw or paint realistically, you need to be able to interpret light, shade, and shadow into a series of values. 

This is where value scales become extremely useful…

What is a Value Scale in Art?

A value scale allows artists to understand and organize different shades from light to dark. It includes a graduated scale from the lightest value (white) to the darkest value (black) and various gray tones in between.

To simplify the concept of tonal values in art, scales are depicted in a grayscale format. Removing color from a scene makes it easier to see and evaluate values according to brightness.

The Value Gradient

A value gradient shows a gradual transition of tones from light to dark. If you examine a black-and-white photo, you can place the value of anything in the scene somewhere along the gradient. 

But the range of values in a black-and-white image can be overwhelming! The scope of possibilities is almost endless.

To “see” shapes of different tones, artists must simplify a subject even further…

The Value Scale

A value scale provides a “reduced” and easier-to-comprehend version of the value gradient. 

Even when artists use a monochrome reference image, it can be tricky to differentiate between all the shades of gray. 

By breaking down tones into a graduated scale with multiple steps, subjects can be categorized into a simple range of light and dark shapes. Furthermore, the contrast between each step on the scale is visible to the eye, providing a visual reference with differences in tone that are easier to observe.

Denman Ross Nine-Step Scale:

One of the most common value scales is the Denman Ross version. The nine-step graduated scale was introduced by this American painter at the beginning of the 20th century and is still used today by many artists.

This scale provides a wide range of shades which Ross labeled with the following terms:

• White
• High light
• Light
• Low light
• ​Mid value
• ​High dark
• ​Dark
• ​Low dark
• Black

Each step increases incrementally in tonal value but is still easily discernible to the eye.

The scale can be used to categorize shapes in a scene into simple-to-understand levels of brightness.

Munsell value scale:

Another popular value scale you may come across stems from the Munsell color system.

Munsell developed a system based on three properties of color:

• Hue (color)
• Chroma (intensity or saturation)
• Value (lightness or darkness)

The Munsell version of the value scale typically includes 10 steps from white to black which are simply numbers 1 to 10 (zero refers to black, and ten refers to white).

Three-step value scale:

The simplest version of this tool is a three-step value scale:

In other words, black, white, and gray (light, dark, and mid-tones).

I think this is one of the best ways to start drawing and interpreting a subject!

To help you see tonnes more clearly, you can begin by separating what you see into three simple groups: 

• light, 
• mid-tones 
• and darks.

From here, you can refine the tonal structure of your painting or drawing. Adding or removing shading to improve the realism of your artwork.

How do artists use value scales?

Scales like this are used as a way to simplify lightness and darkness. It’s a tool to help artists see and evaluate different values from light to dark without getting confused by an overabundance of shades.

Over time, using a value scale can help develop your ability to see accurate values.

Typically, artists use a value scale they have made themselves by drawing or painting onto a sheet of paper. Or sometimes, they opt for a commercially bought value finder like this (Amazon).

The Grayscale and value finder

A gray scale value finder is a printed sheet with monochrome squares ranging in tonal value from black to white. (Amazon) They usually include ten shades of gray (as in the Munsell system). 

Each gray shape includes a hole or a cut-out notch used to isolate a small part of a reference image.

How to use a value finder

• Select a part of the reference image.
• Place the holes over that part of the image.
• Move the value finder until you find the closest shade of gray.

Isolating small areas like this makes it easier to evaluate a shape’s brightness or darkness level.

Value Finder Apps

Want an easier way to see values? 

Use your smartphone

Nowadays, you can find some very handy artist applications that quickly create the equivalent of a “value study.” 

These apps automatically convert a photo or a camera view into a grayscale version, then break it down into a small range of values so you can see the brightness levels. 

This is extremely useful! Especially for beginners when dealing with colored scenes that are more difficult to interpret.

I use these all the time

A couple of my favorite apps are the “See Value” and the “Value Study” apps.

How do you make a grayscale value finder for art?

There’s a significant advantage to making your own value finder. Commercial grayscale finders are acceptable, but they are printed using inks that don’t match your art medium. 

If you draw in charcoal or use graphite pencils, you’ll get a much better visual match of values if you use your own supplies to make the value scale.

Here’s an example using graphite pencils… but you may find it helpful to make a different version for each art medium you use.

This can be quite a challenge to get right! But it’s excellent practice

How to make a Value Finder Step by Step:

I used a sheet of smooth white vellum paper and an 8B graphite pencil for this handmade value finder.

1. Draw an empty scale with 9 blank squares or rectangles (Denman Ross version). Use light pencil marks.
2. Start with the extremities. Leave the white paper blank for the lightest tone. Then fill the last box with the darkest color your pencil can make. 
3. Now shade the center box with a mid-tone. Get as close as possible to a half-tone (It’s better to be too light than too dark! This can be adjusted later).
4. Next, shade the midpoints between black & mid-tone and between mid-tone and white. Use very light pencil marks and build up the values slowly.
5. Finally, fill in the remaining boxes, using a shading value halfway between each adjacent box. Do your best to make the shading as uniform as possible.

Working in stages like this makes the process more manageable – using side-by-side comparison helps hit the proper value strength.

Cut out your value finder, then cut some notches into each shaded box, in a similar way to a commercial grayscale finder.

Value scale worksheet 

Below you can download a PDF worksheet for making your own value scale.

It includes a template that you can print out and draw directly onto if you’re using graphite or charcoal. Otherwise, use it as a traceable to transfer onto watercolor paper or other grounds. In addition, it includes step-by-step instructions for making a pencil value scale.

Get the grayscale and value finder pdf here…

The post Mastering the Value Scale (Guide to Drawing, Making, & Using It in Art) first appeared on Watercolor Affair.

After all, the definition in words can be tricky to understand. 

Value (also known as tonal value or tones) is:

“the relative lightness or darkness of a color”.

Ok… Great! 

A description like that doesn’t exactly help you visualize what value really means, and how to apply it to your artwork.

So… in this article I’ll go over a few concrete and graphic examples so you can better understand this tricky but VERY important principle.

What is an Example of Value in Art?

The most obvious example for the use of values in art is portraying a sense of volume and three-dimensional form: lighter tones are used to represent areas that are more illuminated, and darker values depict the shade and shadows. Values are also applied in landscape painting to create a sense of depth and distance: backgrounds use lighter values but darker tones are used for the foreground, thus creating an illusion of spatial distance. Values are also commonly used as a compositional tool in art to create mood and atmosphere. For instance, darker overall values generate a feeling of tension or gloom, whereas lighter tones are calm and uplifting.

Example 1

Artists use values to create depth and a sense of three-dimensional form in their artwork. A better understanding and use of values can improve your artwork and help convey realism to your paintings and drawings.

Here’s a simple trick to show you how artists use value in art:

If you look at image A, all you see is a flat gray shape. 

But in images B, and C I’ve added a component of value. Immediately your mind perceives this as a three dimensional cube. 

Image D: adding a darker shape to represent the cast shadow immediately grounds the volume and improves the painting’s 3-dimensionality.

So as you can see, one of the main reasons artists use values in art is to create an “illusion” of volume and realism. 

Example 2

Perhaps one of the most familiar illustrations of value in art is in landscape painting. 

Artists represent distance by using different values for the background, middle ground and foreground. Typically, background objects are depicted with the lightest values and the foreground uses the darkest tones. 

This effect makes the furthest objects seem to recede into the distance and brings closer objects forward.

Applying values like this mirrors what we see in nature. Distant objects appear lighter because we see them through a thicker layer of atmosphere. The greater atmospheric haze between the viewer and the distant objects makes them appear to fade. As the landscape gets closer the effect of the atmosphere reduces, and objects look darker in value.

This is an art term referred to as “atmospheric perspective”. 

In this simple landscape composition I built up the painting following this principle. The background is tainted as one large, light-toned shape. The middle ground mountain uses a slightly darker mix of paint. The mountain shape in the foreground and the nearest trees are both applied with the darkest values. 

Even though the spades are relatively simple, the scene still reads as having depth of space.

Example 3

A more sophisticated example of values in art is when artists create feeling and atmosphere in their artwork. Different values have an effect on perceived mood in art.

To do this there are three types of value structure that are commonly used:

• high key 
• low key 
• high contrast 

The terms “high” and “low” key refer to the predominant values in a scene. For example high key art uses mostly mid-to-light tones. On the other hand, low key artworks employ a range of values from mid-to-dark. 

The term “high contrast” refers to artwork that uses a full range of values, from bright highlights to dark tones.

As a result, high-key art tends to have a soft, calm, lifting mood. They can also be bright and refreshing.

Low-key artworks provoke a more subdued feeling. They can be mysterious or even dramatic. 

High contrast art can be quite dynamic, making use of the full range of values to create bold shifts from light to dark. They can have quite a striking effect.

Famous Historical Examples of Value in Art

Of course, there’s a vast range of work by many renowned artists that provide useful examples of values in art. 

Here are a few select instances where the choice of value structure by the artist has a direct impact on the ambience of the artwork.

The founder of impressionist painting, Claude Monet, provides us with some excellent illustrations of high-key and low key value compositions. For example, between 1900- 1905 Monet painted a series of scenes of the houses of parliament in London. All of them were painted from the same viewpoint! But each one strives to develop a different mood through the varying use of color and value. 

In this version, the use of high key values produces a soft dreamy appearance. You get the impression of a misty morning across the river Thames.

Whereas here, the low key tonal values create a more subdued and mysterious feeling to this sunset version.

The artist Daniel Ridgway Knight made very good use of a full range of values in many of his painting compositions. (He was American born, studied at the École des Beaux-Arts, and lived most of his life near Paris).

For example in his painting “The Shepherdess of Rollebois” you can see a classic use of values for landscape paintings – the background is light toned and the middle and foreground objects progressively become darker as they get closer. 

The subject (the Shepherdess) includes the darkest values in the painting. Because she is framed against a very light valued sky this sets up a focal point for the composition using contrasting light and dark hues.

Look what happens if we adjust the background and lower the contrast between the subject and its surroundings. I’m sure you’ll agree the result is less successful.

In this painting by Gustav Klimt, called “The Kiss”, we can see an extreme use of high range values. Klimt used gold leaf in his paintings. This makes the focal point of the painting (the embracing figures) stand out thanks to the contrasting background. Even in a reproduction the figures appear to glow!

The painting “The Death of Marat” by Jacques-Louis David employs a cold range of hues in mid to dark values.

The result is fairly “low-key” but the artist makes good use of contrast to make the head and body of the figure stand out. The overall effect is muted, sober and solemn.

“Nighthawks” by Edward Hopper features a downtown diner interior at night. The use of a full range of contrasting values and sharp edges in the figures and architecture create a dynamic composition. This clever use of value structure draws the viewer’s eye to the interior.

Values in artworks not only help us perceive three-dimensions, but they are also a powerful compositional tool!

Next time you’re browsing a piece of art that you find attractive, think about how the artist employed values in their work, and how this effects the overall mood or the way your eye is directed around the composition.

The post Examples of Value in Art (A Visual Guide!) first appeared on Watercolor Affair.

But what is tone in art?

Tone is the relative lightness or darkness of a color. Tonal value describes how light or dark a color is independent of its hue (hue being the color appearance – red, green, blue etc). For example a blue and a red color can both have exactly the same tonal value even though the color appearance is different.

Of all the factors that an artist needs to take into consideration, judging tone and value is an essential first step in evaluating a scene. Whether your style of painting is loose and blurry or detailed and precise, if the relative tones in your scene are true, you can produce a believable sense of space, light and form.

Because we see and understand objects as a result of how light or dark they are, tone is very important to artists. Tone and value are more important than color to the success of a painting. Understanding and using tone correctly can have a big impact on your finished work. To use tone well, you need to develop a different way of looking at color and interpreting a scene onto paper.

In watercolors it is particularly important to assess the tonal graduations of the scene you are going to paint. Adding darkness to watercolor is simple, but adding lightness can’t be done! The transparency of watercolor means you need to make evaluations about tone at the beginning of the painting process. With watercolors, once you give a form a certain value, it is impossible to make it lighter. This is why in watercolor painting you need to reserve the white areas of the paper for the lightest tones in your scene.

Watercolor painting is very much about balancing lightness and darkness.

Tonal values and value scale in painting

As an artist you need to be able to recognize by eye the different values of light and dark.

This is done using a value scale. The traditional value scale used by artists includes nine gradually increasing tones from pure white to pure black. This concept was originally created by the american artist and scholar Denman Ross at the beginning of the 20th century. His nine step value scale describes how values change from white to black and is still used by artists to this day.

These values are rated from 1 to 9 and are described using the following terms:

1. White
2. High light
3. Light
4. ​Low light
5. ​Mid value
6. ​High dark
7. ​Dark 
8. ​Low dark
9. Black 

​Starting with white, each step increases in tonal value by 12.5% until you end up with black.

This value scale is still widely used today as a visual reference and guide for determining values.

These nine variations in tone are easy to observe, and are sufficiently different to the eye to help us analyse and break down any scene we want to translate into painting.

The PDF below contains a nine step value chart that you can download and print so that you have a usable scale to hand, for use in your studio or in the field. For best results, print it on a good quality printer with the options set to ‘black and white’.

You can also buy preprinted value scales – I have one made by The Color Wheel Company.

I find that having a value scale to hand when you work is an incredibly useful tool to help judge tone.

Tone hue and saturation

Assessing tone in black and white is fairly simple. However, when it comes to judging the value of a colored hue a lot of artists slip up! This is especially true for bright hues such as orange. Take a look at the two saturated hues below. How would you rate their value using a Denman Ross scale? Most people would naturally tend to appraise these colors as light toned.

But in reality these hues are more like mid values. See below:

Some saturated colors are easily confused as visually lightness. Our perception of tone can be misled by the bright hues of certain colors. As a result we tend to misjudge the actual values of the different colors in a scene.

Because it’s so difficult to judge the value of watercolor pigments by eye, Bruce MacEvoy, the author of the website Handprint has created an artists value wheel. This visual aid is a useful tool for determining the tonal value of different paint pigments. You can download it from the link above.

What is tone in art and why is it important?

When you look at a painting, variations in tone and value help your perception of form. The lightness or darkness of surfaces in a picture provide a sense of three dimensional space and also the depth or distance in a scene.

By controlling the value of the colors you apply, you can achieve an impression of form and distance, and also strengthen the focus of your paintings. Tone is therefore important for the following objectives:

• Three dimensional form
• Depth
• Focal points

Using tone correctly creates an illusion of depth. And using light and dark tones on a subject gives the illusion of three dimensional form. The human eye is also drawn to something light set against something darker. An important rule of composition is that the eye is attracted to the greatest point of contrast. By carefully using tone you can create a focal point in your paintings.

As an example, take a look at the following photo of some apples. If we were going to paint this as a still life, we need to reproduce similar tones as the original image.

Notice how the dark toned background contrasts with the lighter toned apples, making them stand out. The dark toned background becomes a light toned foreground which helps reinforce the sense of depth. Also the sharp highlights to the apples help to generate the focal points of the image.

To make it easier to asses the tonal value of the different parts of the image, here is a black and white version of the same photo. Doing this makes a difficult subject easier to paint. If you often work from photos then this is a useful exercise to do when you’re starting out. This is just a desaturated grayscale version of the photo without any other changes.

As you can see, it starts to become a little easier to find the different values in the photo. By pixelating the image and using our nine step value scale we can more readily locate the different graduations of tone throughout the image.

Creating depth by controlling tonal value

Here is another example of how to correctly use tone to establish a sense of depth. You can try this easy exercise yourself. This simplified scene of a range of mountains illustrates the right and wrong way to use values to generate the appearance of depth.

In order for the mountains in the distance to recede, they need to be lighter in tone.

Here is what happens when the distant mountains are painted a darker shade. They jump out at you, and the perception of depth is confused.

Creating three dimensional form and highlights by controlling tonal value.

To make something look three dimensional, you need the light and dark tones to do the work for you. The sphere below illustrates how to use gradation of tone to create the illusion of three dimensional form. The reserved white area creates a focal point or highlight.

This seems a pretty obvious example. By reserving some of the white paper we create a highlight. The “Light” and “mid values” describe the side of the sphere turned towards the light source. Dark values indicate the areas in shade. The effect as a whole depicts a three dimensional form.

Making a watercolor value chart

It’s a good idea to practice making your own watercolor value scale. It helps you to learn the proportion of water needed to create lightness or darkness for any one color. You can also use this chart in your work, as a visual aid to evaluating the values of any scene you want to paint.

​A good method for painting your value scale is by applying multiple glazes of diluted black watercolor, leaving the paint to dry between each layer of watercolor. The successive layers of paint become darker and darker.

1. ​Mix some black paint, or simply use a tube of black if you have one available.
2. ​Draw a grid of 9 boxes.
3. Leave the first box ​white and paint ALL THE OTHER BOXES (boxes 2 to 9) with a diluted black mixture.
4. When this is dry, paint another layer of diluted black over boxes 3 to 9 (leaving the light grey color in box number 2).
5. Then do the same thing for boxes 4 to 9, and so on, until you have a value scale from white to black.

​It doesn’t matter if this is not completely accurate. You can always apply a new glaze of paint if you think one of the boxes is too light. You can also use a printed value scale to help you judge the values of each watercolor glaze.

Tips on how to judge and use tone.

With watercolor painting, it is especially important to ask yourself at the beginning of your project, what is the lightest part of the picture?

Hopefully the tools discussed above will help you find the lightest shapes in any picture you want to paint.

• Use a black and white value scale. You can either download and print the one above, paint your own, or find a preprinted value scale.
• If you have problems judging color values, consider making value scales for primary and secondary colors. You can paint these yourself using a black & white value scale as a guide.
• Another visual aid for estimating value is to simply cut out a square of card or watercolor paper, then cut a square hole in the center of the card. Hold this up to your scene or photo to isolate small areas of the scene. Isolating portions of a scene can make it easier to determine a value!
• If you’re working from a photo why not desaturate the image first to see a grayscale version. Doing this makes a difficult subject easier.
• Before you start your final painting, consider sketching a ​monochromatic value study to help you determine the tones in your picture.
• Think about how to use tone to create focal points in your composition. The eye is attracted to the greatest point of contrast.

Try to think of your subject in an abstract way in the early stages of a painting. Think in terms of shapes and tones rather than things. Try not to be misled by meaning. For example if you want to paint a red brick house, your brain thinks “house with a brick texture”. Instead try to see it as a “red box”.

It can be difficult sometimes to ignore your brain! So think in terms of pure form and tonal value.

​Have a great day with your watercolors!

The post What is tone in Art – a Watercolorists Guide first appeared on Watercolor Affair.