Just Value

I worked on two versions for this piece — one in color, one in grayscale —
both based on the same reference, but created independently.

🎯 What’s the difference between color and value?

Value refers to brightness — the range from light to dark.
Color refers to hue, saturation, and temperature.

We often think color draws the eye.
But in most cases, it’s the contrast in value that truly controls the focus.

I began with the grayscale version.
This allowed me to establish structure, rhythm, and contrast without the distraction of hue.

Once I had a strong value foundation, I created a separate color painting —
not by painting on top of the sketch, but by building from scratch again using the same reference.

💡 A common misconception

Many people assume the face stands out because of the skin tone.
But if you look closely, it’s simply because it holds the brightest value in the image.

Hair, clothing, and background all sit in a much darker range.
That separation in value is what makes the focal area pop — more than the color ever could.

🔍 Supporting example

Here’s the same color painting, converted to grayscale:

Even without color, the structure holds.
The contrast between light and dark is still what leads the eye.

If your painting still works in black and white,
you’re probably doing something right with your values.

🧠 Why I always think in value first

Because value solves most of the image.
If a painting reads well in grayscale, it’ll hold up in color.
But if the values are off, no amount of color can fix it.

🖌 Tools used

• Grayscale: Pencil Sketch Brush

• Color version: Color Flow Brush Set
  (Primarily Classic Grainy + Wide Canvas with smudge tool)

🎨 Brush link → https://9brookskim.gumroad.com

Separating color and value this way helps me stay focused on structure.
And it keeps me from overthinking color too early.

This approach isn’t always easy to explain,
but I’ll keep sharing more examples like this in future newsletters.

If you ever feel stuck with color, try solving the value first.
Most of the time, it already knows where the painting wants to go.

— Brooks