How to look at art 2

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How to look at art 2

  1. 1. Super Funtime“How to Look at Art”<br />Slideshow<br />
  2. 2. Task 1: Art Words<br />Colour:<br />Palette: the range of colours an artist uses.<br />Scheme: the use of certain colours together for their effect; Complimentary- colours at opposite ends of the colour wheel; Analogous- relatedcolours on the colour wheel; Triadic- 3colours spaced evenly in the shape of a triangle on the colour wheel; Split complimentary- variation on the complimentary colour scheme eg, base colour green + 2 colours either side of greens compliments.<br />
  3. 3. Colour Schemes: http://www.colorfaq.com/color_relationships.htm<br />Complimentary<br />Analogous<br />
  4. 4. Colour Schemes<br />Triadic<br />Split complimentary<br />
  5. 5. Colour Schemes<br />Monochromatic<br />Achromatic: no colour<br />
  6. 6. Colour.<br />High Key<br />Qualities of Colour-<br />Value (tone): how bright a colour is.<br />Chroma: how pure a colour is<br />Tint: colour + white<br />Shade: colour + black<br />Cool colours: left hand side, these colours recede.<br />Warm Colours: right hand side, these colours come forward.<br />High key: tints used to make bright pale colour values<br />Low key: shades used to make subdued colour values<br />Flat colours: little or no tonal range<br />Modulated/Gradated tones: tonal range from light to dark<br />Flat colours<br />Tints<br />Low Key<br />Modulated colours<br />Shades<br />
  7. 7. Reading a Paintings Values<br />Highlight-high value<br />Halftones-Middle value<br />Shadow-low value<br />
  8. 8. Colour Use<br />Objective: <br />representational, <br />formal,<br />natural or naturalistic,<br />local<br />Subjective:<br />Non-representational<br />symbolic,<br />emotive,<br />metaphorical<br />
  9. 9. opaque<br />Painting<br />translucent<br />Qualities of paint and painting.<br />Opaque: paint that has not been diluted by media, oils-turps, acrylic-water<br />Translucent: paint that has been diluted by media, usually in the form of a glaze<br />Fat: thicker paint layer, the final stage in an oil painting, traditionally used to paint the lights (until the impressionists)<br />Lean: thin paint layer, used for the initial paint layers (imprimatura), especially blocking in the darks and for shadow areas in oils.<br />Handling: the way an artist paints, careful handling=soft bristled smaller “round" brush, smaller strokes, leaner paint, blending. Broad handling=coarser bristled “flat" brush, gestural strokes, fatter (but not necessarily) impasted (raised) paint.<br />Modelling: the way a painter uses paint and colour (especial tone) to describe form.<br />Lean paint layers, careful handling, modelled in glazes<br />fat paint layers, broad “gestural” handling, modelled in impasto paint<br />
  10. 10. Layering<br />Painting<br />Qualities of paint and painting.<br />Loading:thickly loaded brush= a lot of pigment, thinly loaded=less pigment<br />Layering: the use of successive layers, classically in oils there is the first layer, a base colour, second the darks are painted in, third the local colour and half tones, fourth the highlights.<br />Blending: loading your brush with two different hues or tones and mixing a middle hue between the two.<br />Scumbling: dragging or scrubbing a wet lighter value paint over a dry darker value area so that the area beneath shows through.<br />Glazing: adding a transparent diluted layer of tinted paint. Glazing subtlety alters the underlying hue, an opaque yellow base glazed with blue will produce a greenish hue.<br />Wet in wet: mixing the paint when wet on the surface<br />Wet over dry: adding wet paint over a dry area<br />1<br />2<br />Blending<br />3<br />Scumbling<br />Glazing<br />
  11. 11. A Comparison between two Approaches<br />Layering (Academic-Formal)-wet over dry<br />Alla Prima (in one sitting)- no layering, wet in wet<br />Gericault: painted in studio or artificial light<br />Monet: painted en plein air (outside) in ambient(outside) light<br />
  12. 12. Blending<br />
  13. 13. Scumbling<br />
  14. 14. Glazing<br />
  15. 15. Washes<br />
  16. 16. Composition<br />Composition<br />The way a painting/artwork is put together.<br />Foreground: the front of the picture plane<br />Middle ground: the middle distance<br />Background: the furthest distance<br />Perspective: <br />1 point = train tracks, where all lines meet at single point on horizon.<br />2 point = where you can see two planes of an object and the lines lead to 2 points on the horizon.<br />Aerial = where an artist uses paler, bluer, colours in the background.<br />
  17. 17. Composition<br />Composition: the way a painting/artwork is put together.<br />Principles of Art:<br />Balance: Balance is the concept of visual equilibrium. <br />Contrast:This is the use of opposites near or beside one another<br />Proportion – Elements are combined to create size relationships<br />Rhythm/pattern – Elements are repeated to create a visual tempo, our eye moves throughout the piecespace<br />Emphasis:Emphasis is also referred to as point of focus or focal point. <br />Unity:This is the arrangement of one or more of the elements used to create a feeling of completeness. <br />Variety – Contrasting elements are combined to create visual interest.<br />
  18. 18. Balance<br />Symmetrical<br />Asymmetrical<br />
  19. 19. Proportion <br />Representational<br />Abstract<br />
  20. 20. Rhythym<br />Representational<br /> Abstract<br />
  21. 21. Emphasis/ Focal Point<br />Representational<br />Abstract<br />
  22. 22. Reading a Composition: Look for the underlying shapes<br />
  23. 23. Reading a Composition: Look at the treatment of space, pos/neg<br />In this painting by Graham Sydney, positive and negative space are symmetrical and create a feeling of calm<br />In this print by Kathe Kollwitz the negative space is jagged and encroaching on, almost attacking the positive space, creating a very emotional image.<br />

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