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Clarobscur

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Introducció al clarosbcur

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  • hola maria antonia ? ets tu? com et va? soc l.esther tassis
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Clarobscur

  1. 1. Llum i clarobscur 1
  2. 2. Els objectes tenen un relleu que fa quepuguem distingir-los del fons de lentorn quansón il·luminats.Cada cos il·luminat tindrà dues ombres:Una pròpia sobre la zona que no rep la llumi projecta una altra que reprodueix els seuscontorns, però que es deforma segons lainclinació de la superfície on es projecta. 2
  3. 3. Las superficíes amb arestes En les superfícies corbes hideterminen talls nítids entre llum i ha una transició suau.ombra 3
  4. 4. El clarobscurÉs la sensació de volumproduida pel joc de llum i ombrasobre els objetes. Doble retrat. Fotografia d’Ulises Bezzi, 4
  5. 5. Retrat fotográfic. Humphrey Bogart il·luminatGianni Penati amb un focus d’escena 5
  6. 6. Maniquí il·luminat amb llum de Rostre de jove. Lorenzo di Credi,costat. s. XV. Llum frontal. 6
  7. 7. El clarobscur i els mestresAntigament s’utilizava com a estudi previ per a la realització del quadredefinitiu a color. Estudi i quadre per a làngel de la Verge de la Roques. Leonardo da Vinci. 7
  8. 8. Estudi per a San Juanet.Leonardo da Vinci. 8
  9. 9. Cara d’ángel.Fotografiad’Ulises Bezzi,1972 9
  10. 10. 10
  11. 11. També s’utilitzava per l‘estudi minuciós en els plecs de les robes. 11
  12. 12. PRÁCTIQUES AMB LLÀPIS 12
  13. 13. LlumOmbra pròpia Mitja tinta Ombra ProjectadaReflexos 13
  14. 14. 14
  15. 15. LlumOmbra pròpiaMitja tintaOmbra ProjectadaReflexos 15
  16. 16. 16
  17. 17. 17
  18. 18. 18
  19. 19. Estudi de l’esquena.Carnizero, 1879. 19
  20. 20. Posicions del focus lluminós1. Llum frontal. Produeix 2. Llum lateral. Augmenta la 3. Llum inferior. Produeix laaplanament de les formes ja que sensació volumètrica dels trets i mateixa sensació deformant queselimina gran part de les ombres produeix grans contrastos entre el cas anterior però cap amunt.que aquestes formes podrien zones de llum i ombra.projectar. 4. Llum zenital. Deforma l’aspecte de la cara ja que les ombres es projecten cap avall. 5. Llum posterior. Produeix l’efecte anomenat contrallum deixant la cara a l’ombra e il·luminant fortament els contorns exteriors. 20
  21. 21. Grisalla. Durero 21
  22. 22. Grisalla. 22
  23. 23. 23
  24. 24. 24
  25. 25. St. George Slaying the Dragon. Rubens 25
  26. 26. Aguador de Sevilla. 1623 Velázquez 26
  27. 27. Jove captaire. Murillo 27
  28. 28. Nens a la platja. 1910 Joaquim Sorolla 28
  29. 29. La cuinera. 1661 Jan Vermeer 29
  30. 30. Ronda nocturna. 1642 Rembrandt 30
  31. 31. L’incredulitat de Sto. Tomàs. Caravaggio 31
  32. 32. El nomenament a S. Mateo. Caravaggio 32
  33. 33. EXERCICISLes preguntes: contesteu per ordre, després de veure el powerpoint del clarobscur. Per a què serveix el clarobscur? Diferència entre ombra pròpia i ombra projectada. Quines pràctiques a llapis fem nosaltres a classe? Què s’explica a les diapos 16 i 17? On és el focus de llum en la foto que tú treballes? A les últimes diapos hi ha ombres molt conegudes de pintura, quina és la que té el clarobscur més contrastat? Hauràs de buscar-les a Internet per exemple, amb més resolució. 33
  34. 34. EL CLAROBSCUR Cercar una imatge fotogràfica de qualitat a la xarxa, en B/N.http://www.flickr.com/groups/black_and_white_4_b eginners/pool/ Fer l’escala de grisos que correspon a la foto triada, amb llapis de diferents dureses. Dibuixar l’esfera que tenim a les diapos. Intentarem reproduir, procurant fer textures variades, la imatge observant les tonalitats. Podeu admirar al gran Durer com a exemple

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