An introduction to tone and value; light and shade. This is a lecture presentation for Fine Arts Visual Perception class, 28 September 2019, Kalayaan College.
This presentation describes the four kinds of texture and their uses in art of all mediums. It introduces this element of art to introductory art students, and outlines a related project.
part of this presentation came from a ppt I found online. I am now having trouble re-locating this presentation. Please let me know if it is yours, so I can give you appropriate credit. Thanks!
This presentation describes the four kinds of texture and their uses in art of all mediums. It introduces this element of art to introductory art students, and outlines a related project.
part of this presentation came from a ppt I found online. I am now having trouble re-locating this presentation. Please let me know if it is yours, so I can give you appropriate credit. Thanks!
I have tried to explain the elementary fundamentals of drawing like shapes, forms, shading, perspective drawing etc.
This training material was prepared for my team consisting primarily of Graphic Designers with the objective that they'd start approaching their work like artists.
There are plenty of exercises at the end of each section as well... hope you enjoy it!
Here is a presentation on how the sublime is being visually represented through art. It is summarized from essays in www.tate.org.uk and made by LucylleBC. This was also made for a lecture, undergraduate level, and most slides contains pictures and little descriptions.
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
Discusses about the different media of Advertising use, and the the kinds of Advertising. This slideshow particularly discusses Interactive advertsing, most particularly Kiosks, and Point of Purchase. It also discusses about the difference between Product and Non-Product Advertising, Commercial and Non-commercial Advertising, and Awareness Advertsing.
This is a slideshow presentation that discusses how Art can be explained by Mathematics, in relation to different kinds of perspective.
Date Created: December 6, 2015
Contributors: Lucylle Bianca T. Cawaling, Aljohn Ramirez, Kevin Lumbre, Kevin Bianzon, Pochie De la Torre, and Shalom Sabino
This is our slide presentation that we were made to report on our Introduction to Computer Science class. This tackles about how computers are used in different fields, what computers will be like 15 and 20 years from now, and the Pros and Cons of using a computer
Art History in Renaissance time. feautring Donatello, Leonardo, Michelangelo, Raphael, and Botiicelli
This is made for our class reporting,but my professor changed his mind, so maybe it would be of help to others if I share it.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
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Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
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Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
2. Light Logic
■ make things look three-dimensional through the use of a tech- nique students often
call "shading,"
■ Light falling on forms creates lights and shadows in a logical way.
■ Shadows are logically formed where the light is blocked, for example, by the nose.
■ We constantly use this R-mode visual information in our everyday perceptions
because it enables us to know the three-dimensional shapes of objects we see around
us. But, like much R-mode processing, seeing lights and shadows remains below the
conscious level; we use the percep- tions without "knowing" what we see.
3. Aspects of Light
Logic
1. Highlight: The brightest light, where light from the source
falls most directly on the object.
2. Cast shadow: The darkest shadow, caused by the object's
blocking of light from the source.
3. Reflected light: A dim light, bounced back onto the object by
light falling on surfaces around the object.
4. Crest shadow: A shadow that lies on the crest of a rounded
form, between the highlight and the reflected light. Crest
shadows and reflected lights are difficult to see
at first, but are the key to "round- ing up" forms for the
illusion of
3-D on the flat paper.
4. Henry Fuseli (1741—1825), Portrait of
the Artist. Courtesy ofTheVictoria
andAlbert Museum, London
Find the four aspects of light logic in Fuseli's
self-portrait.
1. Highlights:
2. Cast shadows:
3. Reflected lights:
3. Crest shadows:
Forehead, cheeks, etc
Cast by the nose
Side of the nose, side of the
cheek
Crest of the nose, crest of the
cheek, temple.
5. Shading or tone helps
create an illusion of three
dimensions or solidity.
6. Sources of
Light
• The type of shadow that an object
throws varies depending on the
direction of the source of light.
• A simple way of learning about shadows
is to arrange an object at various angles
and note the differences.
7.
8. Values
■ Light logic also requires that you learn to see differences in tones of light and dark.
These tonal differences are called "values."
■ Pale, light tones are called "high" in value,
■ dark tones "low" in value.
■ A complete value scale goes from pure white to pure black with literally thousands of
minute gradations between the two extremes of the scale.
■ Fuseli achieved the many tones between the lightest light and the darkest dark by
various methods of using the pencil: solid shading, crosshatching, and the
combination of techniques
■ Many of the white shapes he actually erased out, using an eraser as a drawing tool.
9. ■ L-mode apparently will
pay almost no attention
to negative space or
upside-down information,
it seems also to ignore
lights and shadows. L-
mode, after all, may be
unaware that R-mode
perceptions help with
naming and categorizing.
WHAT
SHAPES CAN
YOU SEE?
10. ■ This is another of the
many paradoxes of
drawing: If you draw the
shapes of lighted areas
and shadowed areas just
as you perceive them, a
viewer of your drawing
will not notice those
shapes. Instead, the
viewer will wonder how
you were able to make
your subject so "real,"
meaning three-
dimensional.
WHAT
SHAPES CAN
YOU SEE?
GustaveCourbet'sSelf-portrait
13. ■ Color/Tone you paper entirely
with pencil
■ Use eraser to draw the figure
■ You can add shades later
EXERCISE
14. Crosshatching: A
lighter shadow
■ a technical term for creating
a variety of tones or values in
a drawing by laying down a
sort of "carpet" of pencil
strokes, often crossing the
strokes at angles.
■ the ability to Crosshatch is a
mark of a trained artist
15.
16. • Hatching or building up tone, is
the most conventional way of
showing the effects of light and
shade
• Start by producing strokes all in
the same direction, about the
same length and evenly spaced.
22. THE EAR
Profile:
Eye level-to-chin = back-of-the-
eye to the back-of-the-ear
becomes
Three-quarter:
Eye level-to-chin = front-of-the-
eye to the back-of-the-ear
23. References:
■ 1999, Edwards, Betty, “The Drawing on the Right Side of the Brain”
■ 2001, Barber, Barrington “The Fundamentals of Drawing:A Complete Professional
Course for Artists, Barnes and Nobles Books
■ 1996, Berill. Phillip “Everyone’s Guide to Sketching”, PBI publishing