Clayton J. Beck III - Head Study, Values and Edges

[Chris Saper]

Step three:

At this stage I have started to block-in the darkest part of a light and I am now moving on to the lightest part of the shadow. As I am talking about these values I am referring to the skin tones. I see that the lightest part of the shadow on his face is similar in value or lighter to the dark beard and hair. Therefore, I block them in with the same value. The problem with this is that I must very quickly make my statement as to what is in the light and what is in the shadow through temperature in order not to be confused.

[Chris Saper]

Step four:

I have begun to work out lighter values on top of my first light value and I have worked darker on top of my first dark value. No real detail is attempted at this stage.

[Chris Saper]

Step five:

As you can see very little has changed. A refinement of drawing and a continued refinement of values. At all stages I am acutely aware of every brushstroke's place. Meaning, whether or not it is in the light or in the shadow. This must be absolutely understood in order to have clean brushwork. The misunderstanding of what is in the light and what is in the shadow will lead to do what is most often referred to as muddy color.

[Chris Saper]

Step six:

At this stage the head is nearly complete and all of the major ideas that I started out with have been expressed. I could almost stop at this stage.

[Chris Saper]

Step seven:

But I'm glad I didn't! I expanded on the value structure of the face by continuing to finish my light areas, adjusting a few edges here in there, and finishing off the values around the head.