من حسن الحظ اني وجدت الموضوع محفوظ بالمفضله ومن العجله نسخته بهذا الشكل
اتمنى تستفيدي منه يا اخت سادن
Mixing darker values of colors (shades) is not as straightforward. You can add black to many pigments to darken them, but in some cases, this creates surprising results (particularly with yellows which turn green when black is added to them). A way to darken some hues successfully is to add a little of their complementary color, or another pigment in the same family that is inherently darker in value. Yellows can be darkened with browns. See the examples below.
Demonstrated in the samples at the left are hi-key values (top), low-key values (middle) and full value range (bottom).
Note how both the hi-key and low-key paintings seem flatter than the one with the full range of values. That's because they lack contrast. All of the values are very similar.
In the bottom painting, each object has been painted using changes in value from dark to light. As a result, this gives both the individual objects 3-dimensional form, but also adds depth to the painting. Finally our eye tends to focus on the lightest values where they juxtapose the darkest values (in the center of the painting).
In more complex compositions, value patterns of light and dark help lead your eye through the painting. The image at the right is my simple monochromatic value plan for the subject. Note how your eye is drawn to the lightest values first, and to the places where the light/dark contrast is greatest. Areas where the value contrasts aren't as far apart read as a larger, simpler shape. Squint at the painting and you will see what I mean.
Overcast Day – Honeybee Canyon, ©2008 Ellen Fountain7½" x 10" image, plein air watercolor on Fabriano rough paper
Pima Canyon, ©2008 Ellen Fountain
the color values, hues, and intensities in such a way that their contrast with
the surrounding areas draws attention.