La perspectiva es una técnica para representar objetos tridimensionales en una superficie plana dando sensación de profundidad a través de elementos como la línea del horizonte y el punto de fuga, donde las líneas paralelas parecen converger. Los artistas usan la perspectiva para dotar a sus pinturas de realismo ilusionando cómo se ven las cosas en lugar de cómo son realmente.
An interactive presentation of the Elements of Art and the Principles of Design, with opportunities to pause the presentation and have students make examples of the drawings in their notes.
Este documento describe las diferentes formas en que los artistas han usado la tinta a lo largo de la historia, incluyendo las técnicas de Van Gogh, Picasso, Matisse, Kandinsky, Warhol y Burton. Explica que la tinta puede usarse de diferentes maneras dependiendo de la herramienta y superficie, y menciona que ha sido una técnica fundamental en el cómic y la ilustración. Alienta al lector a experimentar con la tinta por sí mismo.
La perspectiva es una técnica para representar objetos tridimensionales en una superficie plana dando sensación de profundidad a través de elementos como la línea del horizonte y el punto de fuga, donde las líneas paralelas parecen converger. Los artistas usan la perspectiva para dotar a sus pinturas de realismo ilusionando cómo se ven las cosas en lugar de cómo son realmente.
An interactive presentation of the Elements of Art and the Principles of Design, with opportunities to pause the presentation and have students make examples of the drawings in their notes.
Este documento describe las diferentes formas en que los artistas han usado la tinta a lo largo de la historia, incluyendo las técnicas de Van Gogh, Picasso, Matisse, Kandinsky, Warhol y Burton. Explica que la tinta puede usarse de diferentes maneras dependiendo de la herramienta y superficie, y menciona que ha sido una técnica fundamental en el cómic y la ilustración. Alienta al lector a experimentar con la tinta por sí mismo.
El documento habla sobre la teoría del color. Explica que el color se percibe cuando hay luz y que esta se transmite a través de ondas luminosas que son recibidas por el ojo. Describe las teorías de Newton, Goethe y Young sobre el color y la luz. También explica los conceptos de síntesis aditiva y sustractiva, colores complementarios y las cualidades del color como el tono, valor y saturación.
The document discusses tessellations, which are shapes that can cover a surface without gaps by repeating copies of the shape. Common shapes like squares and triangles can tessellate, but unusual shapes or combinations of different shapes may also tessellate. Specific tessellation shapes are discussed, including pentominoes (shapes made of 5 connected squares) and 7-pin polygons. Instructions are provided for creating original tessellations by modifying basic shapes that tessellate.
This document summarizes a course on drawing and painting with pastels. It covers techniques such as layering pastels to build color, using complementary colors for shading, and limiting the palette. It also discusses composition principles like balance, focal points, and using repeating shapes, colors and movement. The goal is to provide students new to pastels with guidance on materials, techniques and concepts to create richly colored and expressive pastel paintings.
El documento describe el proceso visual humano y los conceptos básicos del color. 1) Los ojos captan la luz y la transmiten al cerebro a través de la retina. 2) El cerebro procesa esta información visual y percibimos imágenes. 3) El color se produce por la longitud de onda de la luz y depende de factores como el tono, la saturación y la luminosidad.
The document discusses the formal element of line in visual art. It describes line as a moving point that can be broad, thin, straight, or jagged. Implied lines do not physically exist but appear real. Line direction such as horizontal, vertical, diagonal, or curved can suggest meanings. Qualities of lines express fragility, roughness, or vigor. Lines can create tones through techniques like hatching, crosshatching, and layering. Lines are used for contour, cross-contour, representation, and expression.
The document discusses line drawing techniques. It introduces different artists such as Picasso, Henri Matisse, Quibe, Kris Trappeniers, Joan Sèculi, and Vince Low. Various line drawing methods are explored, including a single line, combination of lines, and scribbling. Picasso is quoted emphasizing the importance of capturing simplicity and spontaneity through drawing like a child.
Color theory discusses how different color combinations work together based on concepts like color schemes, color wheels, and complementary/analogous colors. There are several types of color schemes including primary/secondary colors, complementary colors (across from each other on the wheel), analogous colors (next to each other), and monochromatic colors (one color plus tints and shades). Shape is also important, with organic shapes having curvy lines and geometric having straight lines. Balance can be symmetrical, asymmetrical, or radial. Asymmetrical balance means both sides are not identical. Positive space is the object area while negative space is around the object, and a good composition balances these spaces.
El encaje se refiere a líneas auxiliares que se trazan antes de dibujar para asegurar las proporciones correctas. Estas líneas marcan la altura, anchura y detalles clave de la forma que se va a dibujar. Para hacer un encaje, primero se observa el objeto, luego se traza un cuadro proporcional y líneas adicionales clave; finalmente, sobre este encaje se dibuja la forma definitiva antes de borrar las líneas auxiliares. El encaje asegura que el dibujo final tenga
The document provides instructions for an observational drawing lesson. It includes exercises like blind contour drawing of a partner's face without looking at the paper. Students discuss what makes a good drawing and focus on shape, lines, textures, and tonal values. They choose a bird to draw in detail using accurate lines and shading techniques like cross-hatching. Peer assessment involves feedback on strengths and areas for improvement. Repeating blind contour drawing helps notice differences between attempts.
The elements of art are the basic visual components that artists use to create works of art. The main elements are line, shape, form, value, texture, space, and color. Line can be used to create contours, gestures, and implied lines. Shape can be geometric or organic. Form refers to three-dimensional objects or depictions of them. Value refers to lightness and darkness. Texture can be actual, implied, or tactile. Space can be positive, negative, shallow, or use linear or atmospheric perspective. Color includes primary, secondary, warm, cool, neutral and monochromatic hues. These elements are the building blocks that artists use to construct visual compositions.
El documento habla sobre la teoría del color. Explica que el color se percibe cuando hay luz y que esta se transmite a través de ondas luminosas que son recibidas por el ojo. Describe las teorías de Newton, Goethe y Young sobre el color y la luz. También explica los conceptos de síntesis aditiva y sustractiva, colores complementarios y las cualidades del color como el tono, valor y saturación.
The document discusses tessellations, which are shapes that can cover a surface without gaps by repeating copies of the shape. Common shapes like squares and triangles can tessellate, but unusual shapes or combinations of different shapes may also tessellate. Specific tessellation shapes are discussed, including pentominoes (shapes made of 5 connected squares) and 7-pin polygons. Instructions are provided for creating original tessellations by modifying basic shapes that tessellate.
This document summarizes a course on drawing and painting with pastels. It covers techniques such as layering pastels to build color, using complementary colors for shading, and limiting the palette. It also discusses composition principles like balance, focal points, and using repeating shapes, colors and movement. The goal is to provide students new to pastels with guidance on materials, techniques and concepts to create richly colored and expressive pastel paintings.
El documento describe el proceso visual humano y los conceptos básicos del color. 1) Los ojos captan la luz y la transmiten al cerebro a través de la retina. 2) El cerebro procesa esta información visual y percibimos imágenes. 3) El color se produce por la longitud de onda de la luz y depende de factores como el tono, la saturación y la luminosidad.
The document discusses the formal element of line in visual art. It describes line as a moving point that can be broad, thin, straight, or jagged. Implied lines do not physically exist but appear real. Line direction such as horizontal, vertical, diagonal, or curved can suggest meanings. Qualities of lines express fragility, roughness, or vigor. Lines can create tones through techniques like hatching, crosshatching, and layering. Lines are used for contour, cross-contour, representation, and expression.
The document discusses line drawing techniques. It introduces different artists such as Picasso, Henri Matisse, Quibe, Kris Trappeniers, Joan Sèculi, and Vince Low. Various line drawing methods are explored, including a single line, combination of lines, and scribbling. Picasso is quoted emphasizing the importance of capturing simplicity and spontaneity through drawing like a child.
Color theory discusses how different color combinations work together based on concepts like color schemes, color wheels, and complementary/analogous colors. There are several types of color schemes including primary/secondary colors, complementary colors (across from each other on the wheel), analogous colors (next to each other), and monochromatic colors (one color plus tints and shades). Shape is also important, with organic shapes having curvy lines and geometric having straight lines. Balance can be symmetrical, asymmetrical, or radial. Asymmetrical balance means both sides are not identical. Positive space is the object area while negative space is around the object, and a good composition balances these spaces.
El encaje se refiere a líneas auxiliares que se trazan antes de dibujar para asegurar las proporciones correctas. Estas líneas marcan la altura, anchura y detalles clave de la forma que se va a dibujar. Para hacer un encaje, primero se observa el objeto, luego se traza un cuadro proporcional y líneas adicionales clave; finalmente, sobre este encaje se dibuja la forma definitiva antes de borrar las líneas auxiliares. El encaje asegura que el dibujo final tenga
The document provides instructions for an observational drawing lesson. It includes exercises like blind contour drawing of a partner's face without looking at the paper. Students discuss what makes a good drawing and focus on shape, lines, textures, and tonal values. They choose a bird to draw in detail using accurate lines and shading techniques like cross-hatching. Peer assessment involves feedback on strengths and areas for improvement. Repeating blind contour drawing helps notice differences between attempts.
The elements of art are the basic visual components that artists use to create works of art. The main elements are line, shape, form, value, texture, space, and color. Line can be used to create contours, gestures, and implied lines. Shape can be geometric or organic. Form refers to three-dimensional objects or depictions of them. Value refers to lightness and darkness. Texture can be actual, implied, or tactile. Space can be positive, negative, shallow, or use linear or atmospheric perspective. Color includes primary, secondary, warm, cool, neutral and monochromatic hues. These elements are the building blocks that artists use to construct visual compositions.
The document discusses Rebecca Miller's experience starting and maintaining a subject blog for the departments she serves as a college librarian at Virginia Tech. The blog, called "Notes from Newman: HNFE Research & Resources", was created to communicate with and reach out to the Human Nutrition, Foods, and Exercise department as well as other departments. Over its first year, the blog grew from 2-4 weekly posts highlighting resources and services to also exploring library issues, publishing student work, and guest contributions. Analytics showed steady growth in visitors and page views. While the blog has been successful in its outreach and instruction goals, Miller questions whether its versatile mission should be tightened or if subject blogs are still an effective outreach tool
This document discusses the benefits of urban agriculture in Worcester, including economic, community, health and environmental benefits. It then outlines steps to grow urban agriculture in the city, such as linking growers to land and space, strengthening education and training, and increasing visibility and promotion of urban gardens. It encourages joining an email listserv and connecting online to stay informed on related events, programs and policy actions.
3. Mål for undervisninger
Dere skal i løpet av opplegget:
• Få en oppsummering av de ulike begreper innen
perspektivtegning
• Lære og tegne ettpunktsperspektiv av eske og rom i ulik
vinkling.
• Lære og tegne i fulgeperspektiv.
• Lære å tegne i froskeperspektiv.
• Bruke Geogebra til å lage de samme tegningene som dere
har gjort for hånd
• Dekorere klasserommet med ”rom” bildene
4. Perspektiv (perspicere) latinsk
«se gjennom, se tydelig»)
• Brukes innenfor kunst og arkitektur om en betraktnings- eller
framstillingsmåte for å gjengi og forklare virkeligheten i et
bilde og således antyde avstand.
• Begrepet brukes særlig om et system for å skape
virkelighetstro dybde- og romvirkning, det vil si avbilde
tredimensjonelle objekter på en todimensjonal flate som en
overbevisende illusjon.
• Perspektivtegning er et område hvor kunst og matematikk
møtes. Formålet med perspektivtegning er å avbilde
virkeligheten på en realistisk måte.
5. Sentralperspektiv
Konstruksjon av perspektiv
brukes å formidle illusjon av en
tredimensjonal virkelighet på en
todimensjonal flate
En teknikk innenfor kunst for å
antyde avstand malerier og
tegninger.
Grønn linje = horisontlinjen (der
himmel og hav møtes). Røde
streker som krysser den grønne
viser skjæringen som er
forsvinnings-punktet til bildet.
6. Ettpunktsperspektiv
Alle paralelle linjer som går i
synsretningene, syntes å
møtes i et punkt, blikkpunktet
/forsvinningspunktet på
horisontlinjen. Alle linjer som
er parallelle med billedplanet,
forblir parallelle på bildet.
Denne måten å konstruere
perspektiv på, blir ikke
fotografisk riktig, men skaper
en god dybdevirkning i
bildene.
10. Ettpunktsperspektiv
tegning av eske – trinn for trinn
1. Tegn en rett linje horisontalt på arket (svakt) 8. Gjør dette for begge sidene av esken
der du vil at horisontlinjen (øyehøyden) skal 9. Tegn inn streker mellom alle punktene,
være.
marker gjerne disse sterkere enn linjene du
2. Husk det du har lært om fugle og laget i pkt. 5
froskeperspektiv.
3. Merk av hvor du vil ha forsvinningspunktet 10. Fargelegg esken og visk ut overflødige linjer
4. Tegn en firkant der du vil esken skal stå(dette
er den delen av esken du ser rett mot)
5. Merk av svake linjer fra firkantetens fire sider
inn mot forsvinningspunktet
Nå må du huske hva du har lært om konstruksjon
av midtnormal. NB. Husk at sidelengdene på
begge sider skal være like lange.
6. Merk av hvor du vil ha motsatt side i esken på
linjen som går fra de øverste hjørnene. (Bruk
gjerne passer fra forsvinningspunktet)
7. Konstruer midtnormal fra punktet på den
øverste linja til punktet på den nederste.
11. Tegn en eske i sentralperspektiv
(ettpunktsperspektiv) for hånd.
Hjelpemidler: Linjal, gradskive, passer og trinn
for trinn forklaring.
Tid: 15 minutter
13. Tegn et ettpunktsperspektiv/sentralperspektiv
av en eske ved bruk av et tegneprogram. Bruk
enten Paint eller Geogebra. Arbeidet skal lagres
i ulike vinkler og perspektiv.
Hjelpemiddler: trinn for trinn forklaring
Innleveres i Fronter
Tid: 25 minutter
14. OPPSUMMERING
• Hvor langt har vi kommet?
• Er det begreper som må forklares?
• Hva gjør vi neste gang?
15. Elevaktivitet 2 A
• Tegne ettpunktsperspektiv av et rom med:
– en dør, to vinduer, en benk og en kasse for hånd.
Fargelegg rommet.
– Husk å tenk på hva du tidligere har lært om
konstruering innen geometrien.
• TID: 20 minutter
16. Elevaktivitet 2 b
• Tegne ettpunktsperspektiv av et rom med en
dør, to vinduer, en benk og en kasse digitalt.
Fargelegg rommet.
• Bruk enten Paint eller Geogebra.
• Husk å tenk på hva du tidligere har lært om
konstruering innen geometrien.
• TID: 30 minutter
21. OPPSUMMERING
• Tankekart
– Hva var lett?
– Kva var vanskelig?
• Dekorering av klasserommet med bildene
22. LINKER
Flere linker til perspektivtegning på nettet:
http://freedrawinglesson.blogspot.com
http://www.youtube.com/playlist?
list=UUsgrg2Yi07jCBg2gQnXvt_g&feature=plcp
http://www.youtube.com/watch?
v=2zGNVZNsZMk&feature=endscreen&NR=1
http://www.youtube.com/watch?v=felys-
u4nfk&feature=endscreen&NR=1
Link til mer informasjon
http://kunsthistorie.com/fagwiki/Sentralperspektiv