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Current time:0:00Total duration:5:02

Video transcript

in addition to line shape and perspective another tool we use to direct the viewers eye and support story points is tone also known as shading by ingesting the lightness and darkness of all the elements in your scene you can both lead your audience's eye and create a specific mood light values can feel open fun or light-hearted while dark values can create an atmosphere of mystery sadness or something ominous another concept is contrast it's the difference between neighboring light and dark values low contrast means that there is not much difference between the light and dark values this can create a subdued or calm mode higher contrast puts very dark and very light colors next to each other this can create a feeling of excitement drama agitation or conflict contrast also allows us to direct the viewers eye because our eyes naturally move first to the point of highest contrast to see this in action let's ask our artists how they use tone and this image from up well first of all the perspective is leaving your eye the one-point perspective is leading your eye to the focal point which is Carl's house everything in the foreground is really dark which is kind of like a framing element and because of the lightness of the color in the background there's an implied sense of like going up so if you look at this image there's basically two different values there's the value in the background which is this medium light gray and it kind of pulls everything in and you have like this light area here so when you have the contrast between light and dark it automatically makes your eye look there and the darkest point in the image is the characters so they have the darkest gray right next to the lightest white area which automatically just shows you exactly where you want to look and then this light gray back here kind of pulls you in from the edges of the frame to show you where you want to go it's really fun to kind of play with tone to say okay these characters are sort of dark up in the background but that room is also really dark and how do you delineate that we thought having the shaft of light coming from outside would be an interesting way to sort of light these characters up and it creates this tension point it's almost like dark versus light and where they meet creates this energy so you can see this really strong rim light against the characters here and that's sort of where your eye is being John as to where that sort of activity and that conflict happens this panel from cars three really uses tone to help us understand where our eye should be looking right off the bat but if we just look at the gray areas the tones there's a couple of interesting things happening which we tone like light in real environments here in these rooms as we're doing these drawings if you look closely there are a couple of different shapes that are happening with the tone that help our eyewear to know where to look there's a huge circle happening with the primary tone that really helps focus our eye into the high contrast area of the lighter area with a lot of the texture of the line work is happening there's also its subtle but there's a secondary box's tone that is happening it's a different dynamic shape and again you're using tone as shape as well as a spot lit shape to help pool light to help create a stage for it and create a sense of direction for where your eye should be looking with this image I used it a little bit differently this one was more about the emotion so this is like a dark moment from McQueen here he just realized after all the racing on the beach this day he he's not fast as he wants to be he's not where he needs to be in order to win the race against storm so there's like a slight gradient from the bottom here that leads up and it almost gives you like a feeling of failure and loss so gradient is basically just going from one value to another and the same thing so if you look at the overall shape of McQueen here it stays the same and then over top I use tone as a gradient so it's almost like when you're shading it goes from the darkest value here to the lightest there you can see it here so if I was to crosshatch it slowly get bigger as it goes up so you have to darkness down there and slowly Rises and it gives him almost like the feeling of like a haze over top of them or like a fog that's in between him emotionally and it makes you the audience to feel a little bit more of how he's feeling in his head in summary using tone we can create mood direct the viewers eye and control what information gets revealed to the audience in the next exercise you'll have a chance to play with this Goa get messy