Tone Still Life:
Tone solution for still life composition

Table of contents

Tone solution for still life composition

Tone and tone relationships - what is it? Performing an educational drawing with a graphite pencil, you cannot convey the color relationships of still life objects. You can only compare them with each other in tone: how much one object is lighter or darker than another, what is the lightest and what is the darkest in a still life. Lead pencil can convey gradation of tone spots from the lightest to the darkest spot. But this does not mean that such a gradation corresponds to reality, because the brightest in reality is the sun, an artificial source of illumination, glare, and the darkest is absolute darkness.

The lightest tone in the picture corresponds to a blank sheet of paper and can convey the lightness of the glare in a still life. The darkest tone in the picture corresponds to the possibilities of a pencil, with which you can convey the shadow part of the darkest subject. So, we got two opposite extremes of tone. All other tone mappings are between these extremes. Take advantage of the pencil and proceed to the tonal solution of the composition of the still life.

Let’s consider two ways of tonal decision of a still life. The first method is based on the “classical” method, using which there is a gradual introduction of a tone by comparing two (or better, three) tones in the neighborhood. Choose the darkest still life item, for example, a copper, old kettle. Define its tone in the light in relation to the plaster, white architectural detail behind it, whether it is a cartouche or a socket — it doesn’t matter, and enter this tone into the teapot. The tone should be introduced simultaneously into the shadow part of the teapot, which will also strengthen the shadow in relation to the light. And so - on any subject.

Why did you start the tonal solution of a still life with a dark object? Firstly, the introduction of the tone will reveal the silhouette of the teapot against the background of the architectural detail, and you can also clarify the contour line, and if necessary, strengthen it. Secondly, you can set the scale of tone gradations - from the lightest spot to the darkest, because the drapery on which the teapot stands is in the middle position in tone between the teapot and the architectural detail. Thirdly, this is the only tone and constructive spot that unites all objects. Because even the lightest object in the shadow is almost the same in tone with the darkest object in the shadow.

With the expansion of the scale in the direction of the dark tone, the palette of intermediate tones expands. Please note that the light source is not just on the side, but also on top. All horizontally located planes are lighter than vertical planes, including the upper part of the teapot.

The position of the shape of the object in relation to the light source can be determined by the contour line, this is especially evident on objects having the shape of rotation. It is only necessary to imagine how a ray of light behaves on these volumes, whether it abuts against them, slides along them or passes without touching them. The transmission of the volume of objects with the help of tone depends on this. Dents, reflexes, abrasions, unevenness of the paint layer on objects during their transfer will lead to the destruction of the volume of the object. The transfer of materiality of an object to the detriment of its volume is not acceptable, since it requires some experience.

Look at the still life you draw with a slight squint, it will look more solid with this vision, you will not see scratches on objects, and this will be correct. Constantly comparing still life objects in tone among themselves and paying great attention to the plastic solution of the volume of objects with the help of light, you have come to the end of work on a still life…