A gray scale is a must have tool for any paint box. You can put one in each of your
paint kits and have several around the studio like I do. Determining value is the first step in both
composition and color mixing. So, as you look at a potential scene it is best
to start your design by thinking about the tonal pattern and that it is the organization of light and dark which creates the illusion of space and depth
These scales are simply made
from color charts found at the local paint store. The higher end stores have a
better selection; charts shown here from Sherwin-Williams. I prefer the warm gray scale
which is closer to the gray mix I actually use, made from ivory black and umber.
I use a simple single hole paper punch and create a viewing aperture.
Holding the value scale up to your subject, you can isolate the local color and
get a more accurate reading.
You can see more precisely the color bias of a hue, the direction it leans on the color wheel either towards warm or cool. And by moving the finder
back and forth locates its value and intensity.
I like these charts because they really are disposable, the
value scales I made with oil colors I am a little more protective of and
keep in the studio. On these Gray Scales I can place dabs of color and do
physical comparisons. I use the single color chips which are a mid gray (around
a value five on the Munsell scale) also, to really target a color and isolate a color note. Punch a few holes in the isolator and you can relate and compare several color notes in your composition at once. I once made
these color isolators out of peoples business cards but I don’t seem to get
them anymore plus it was always hard to contact someone after punched with holes and dabbed with paint.
Just a couple notes; a value scale from 0 to 10 is preferred
and more common, but you can use anything from an 8 to even a 12. It really doesn't matter because in the aperture, you are looking for the least amount of
contrast, you may never actually match the exact value in the isolator but it
will give you direction to tweak your color mixture. These charts
are missing pure white and pure black; well, you can judge that with out
literally having that in your hand. Once you locate the darkest dark and
lightest light in your painting you have established your tonal range. Then use this as a tool to help you judge those value relationships and analyze by comparison, degrees of contrast. I have learn so much by using grey scales in the field and
observing value in nature. With a sketchbook thumbnail, some color chips and this field study I have more than enough resources and information to re-create the
inspiration onto a later larger studio work.
Sunset Study, oil on panel, 5x7
It is in the contrast of light and dark that design happens.
Helen Van Wyk
In an observed color, value can be very hard to see. And
although the two are inseparable in painting you can be way off with a hue but
not with a value when painting form.
It is finding the pattern of light and dark that creates
interest and strong design and it is in the tonal structure of lights, halftones and shadows
that we create depth and describe form. So when it comes down to the components
of color, that being hue, value and chroma, collectively referred to as a color
note, value is the most difficult and is the most critical.
I recommend that you go for the proper value first, even if it is at the expense of your color. Once you have the proper value you can "inject" the color.
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