In Memoriam: The Pastel Journal (1999-2026)

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The Value of Value Sketches

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**Authentically Human! Not Written by AI**


Value sketches based on the below photo
Sketches are about 3" on the longest side.
Notice how these are not DRAWINGS but simple
shapes fully blocked in with 4 values.


Value sketches: Many of us plein air painters skip this step.  I'm guilty of this, too.  Like you, I'm eager to get right to the fun part, the painting. But in doing so, I'm missing out on a practice that will bring my painting closer to my initial vision.  If I make a value sketch first, I'll end up with a more satisfying result.

What's the point in doing a value sketch?  Well, a lot!

First, it helps me analyze the scene, simplifying it into a few simple shapes of a few values.  This creates a map for the placement of shapes.  Sure, I could try doing this right on the canvas, but most likely I'll end up having to rework the underpainting until I get the shapes and values right.  The result is usually either a palimpsest of overlaid and confused intentions—or mud.  I can't tell you how many times I've had to wipe the whole canvas.

Second, by making more than one value sketch, I can experiment with alternatives and find the best design.  Perhaps a vertical orientation would be better than a horizontal one.  Maybe a 1:3 ratio would suit a broad vista better than a 3:4.  And what about shifting or compressing the value scale?  Possibly I could end up with a stronger statement by making some of the lighter, shadowed areas just as dark as the darkest areas.

Finally, the value sketch acts as a warm-up exercise for the final painting.  Going through the motions of working out shape and value gets my hand, eye and brain all working together, smoothing the effort I'll make later.

How do I make a value sketch?  Here's how:

  1. I keep it small.  This helps me focus on simplicity.  I like a 3x5" sketchbook.  Anything bigger, and I'm tempted to draw in detail.
  2. I keep it "blocky."  That is, I don't draw with lines but block in shapes that I then fill in solidly with three or four values.
  3. I start with the mid-values, preserving for my lights the white of the paper.  Then I punch in the darks.
  4. I use a medium that allows me to "sneak up on" the darks.  Why?  It's easy to make the darks way too dark at the start.  So, I go cautiously, darkening only as needed after establishing the mid-values.  (I still keep in mind using just 3 or 4 values.) A 6B pencil is great for this, as it can handle a wide range of value from very light to very dark.  You can also use other sketching tools, such as watercolor or gouache, or even felt-tip markers, the grey ones of which come in different percentages of grey.  Personally, I don't like the markers, as it's hard to alter the value scheme.

Some day, I'd like to teach a workshop that has students doing nothing more than value sketches.  It would be a "value-added" experience!