Watercolor week 2 color, apple, still life sublime 2016
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1) Color is relative and depends on the light and weather conditions, as demonstrated by Monet's paintings of Rouen Cathedral at different times of day. 2) An object's color is enhanced using a chromatic scale from light to dark values, bright to dull intensities, and warm to cool hues to simulate the effect of light. 3) Artists like O'Keefe and Cezanne use a chromatic scale in their still life paintings to dramatically depict apples lit by a glowing light through variations in tone, brightness, and temperature across the subject.
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The document discusses how color is influenced by light and discusses various color schemes and techniques used by artists. It explains that the true color of an object does not exist independently of light and how artists use techniques like value, temperature, and chromatic scale to enhance the illusion of light. It provides examples of monochromatic color schemes used by artists like Klimpt, Mucha, and Picasso to create strong moods and discusses how theatrical lighting techniques like backlighting are used.
Ncc art100 ch.2
1. The document discusses the formal elements of art and architecture including line, light and value, color, texture and pattern, shape and volume, space, and time and motion.
2. It provides examples and definitions for each element, such as describing line quality, value scales, color properties like hue and saturation, and how techniques like linear perspective and atmospheric perspective create the illusion of space.
3. Key works are referenced to illustrate concepts, for example Michelangelo's The Creation of Adam demonstrates different line qualities, and Durer's woodcut shows the use of cross-hatching and one-point perspective.
Introduction to Acrylic Painting and the Color Wheel by Glenn Hirsch, Instructor
This document provides instructions for painting and using a chromatic scale to depict light. It recommends:
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3) Arranging colors in warm/cool pairs of each hue to create a chromatic scale from light to dark, bright to dull, and warm to cool colors to enhance the illusion of light.
Color and the Illusion of Light in Painting
The document discusses color theory and how color is relative to light. It explains that the real color of an object does not exist independently of light. It describes three aspects of color: value (black and white tones), temperature (warm and cool varieties), and chromatic scale (light to dark, bright to dull, warm to cool). Several artists are mentioned who use light and monochromatic color schemes to set moods in their works. In particular, twilight creates a natural monochromatic scheme.
Colour 3r eso
Colour can be perceived through sight when light interacts with objects. Sir Isaac Newton discovered that white light is made up of the visible light spectrum, including red, orange, yellow, green, blue, indigo, and violet colors. Colour theory explores how colors are created and mixed through additive primary colors of red, green and blue or subtractive primary colors of magenta, cyan and yellow. A document on color theory discusses qualities like hue, value, saturation and temperature, and how colors relate and are organized on a color wheel and color cube.
Johannes Itten
- Johannes Itten was a Swiss painter, educator, and color theorist associated with the Bauhaus art school in Germany. He developed a color wheel and emphasized color theory and fundamentals in art education.
- Itten identified 7 methods for combining colors based on their contrasting properties: contrast of hue, light-dark, cool-warm, complements, simultaneous contrast, saturation, and extension. These color contrasts create visual interest and emphasis in art.
- Itten's work in defining color combinations and contrasts was influential for artists and designers in understanding how to use color effectively.
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Introduction to Acrylic Painting and the Color Wheel by Glenn Hirsch, Instructor
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Abstract and real class 3 text as image
This document discusses Robert Rauschenberg's use of text in his artworks. It explains that Rauschenberg treated text as either a design element that was not meant to be read ("text as image") or as something that added hidden or mysterious meaning when found ("text as subtext"). The document also notes that text can be used poetically to communicate multiple meanings through devices like irony and metaphor.
Abstraction & Realism - Day Two
This document provides an overview for an art class that will cover various abstraction and realism techniques over multiple sessions. It includes definitions of abstract expressionism and notes key artists that influenced the movement such as Franz Kline, Arshile Gorky, and Helen Frankenthaler. The class will involve exercises with mixed media collage, assemblage, found objects, and critiques. Students are instructed to focus on techniques like alternating positive and negative shapes, blowing up small details from photos, and using light washes on paper to draw imaginary shapes. Examples from artists such as Joseph Stella are provided for inspiration.
Abstraction and Realism in Art - Day 1
The document summarizes an upcoming class on abstraction and realism in art. The class will explore abstraction through referential images and techniques like using photos for inspiration, manipulating scale, and letting the painting process unfold organically. It provides a schedule, suggested supplies including acrylic paints and brushes, techniques for working in layers and allowing each to dry, examples from artists like Rothko and Frankenthaler, and encouragement to experiment freely.
State of the Nation - Warrior Angels by Glenn Hirsch
This document discusses an art series exploring gesture, attitude, subtext, and politics through acrylic paintings on newsprint. The series examines body language, facial expressions, newspapers from 1963, and feminist "pussy ears" symbols. It also mentions the artist's process from sketchbook to final self-portrait state.
Composition in Painting - To Keep the Eye Moving
The document discusses various techniques for creating rhythm and movement in painting compositions, including:
1) Using positive and negative shapes, repetition of shapes, and diagonals to keep the eye moving across the painting.
2) Varying scale of shapes to create impact and unite smaller shapes into larger forms.
3) The exchange of light and dark values, with dark shapes against light or light against dark backgrounds.
4) Creating patterns through repetition that establish rhythmic movement through the work.
Color, Brush, Energy and Attention to Detail
The document provides information about a 6-session art class on color and brush technique taking place from March 20th to April 24th at the Asheville Art Museum. It includes examples of works by various artists such as Elmer Bischoff, Ilya Repin, Franz Halls, Lucian Freud, Wolf Kahn, Raoul Dufy, Pablo Picasso, Graham Sutherland, Arshile Gorky, and Edouard Manet. The class will explore opaque vs transparent techniques, mixed media collage, using a palette knife on board, assemblage on wood, and working with found objects to create meaning and expression.
Series Project - Color that Sings 2018
The document discusses working in an art series, which involves creating multiple related artworks to explore ideas, moods, techniques, or answer artistic questions. Key points:
- A series allows artists to experiment and see where new ideas lead them. Not every piece has to work.
- Artists can use series to investigate questions like how to paint certain subjects, what different backgrounds or styles look like, or the effect of color on mood.
- A series consists of 3+ related artworks and can depict versions of the same subject or different but related subjects. It is a long-term project where the artist works on multiple pieces simultaneously.
Color that sings 2018-Masters Selected by Students for Study
Karl Schmidt-Rottluff was a German expressionist painter and printmaker from 1884-1976 who was interested in "primitive" art and expressing emotion through high-keyed color. Oskar Kokoschka was an Austrian expressionist painter from 1887-1986 known for his nervously animated brushwork. He fled Austria for England in 1934 due to being deemed a "degenerate" by the Nazis, where he painted anti-fascist works. Richard Diebenkorn was an American abstract expressionist painter from 1922-1993 who worked in San Francisco and incorporated the figure into his abstractions using oil and ink on paper and canvas.
Color that Sings 2018 The Master Study and Response
The document discusses a master study painting assignment where students first copy a painting by a master artist, focusing on color and composition. They then create a new painting using the color palette from the master work but with their own composition and subject matter. Examples are provided of students' master studies and response paintings based on works by artists such as Georgia O'Keeffe, John Singer Sargent, Edward Hopper, and others. Guidance is given on techniques for painting skin color, noting it depends on light, genes, and surrounding colors and can include mixtures of browns, tans, pinks, or even be any color chosen by the artist.
Color that Sings Day One 2018
The document provides an overview of a beginning/intermediate painting class taking place at a Jewish Community Center in winter 2018. It includes a week-by-week syllabus covering topics like light, style, exploration, energy, and idea. The instructor will discuss what makes color sing through the illusion of light using contrast and variety. Students will learn acrylic and watercolor techniques using the brush in various ways and the difference between realism and abstraction. Tonight's lesson will focus on color as light, how to create the illusion of light through contrast and warm/cool combinations, and a painting exercise in abstraction using brush and layers.
Final Crit - Color That Sings - Pattern That Moves
This document appears to be a sign-in sheet for a final critique class at the Asheville Art Museum taught by Glenn Hirsch. It contains the names of 8 students who attended - Hillary Nylander, Jane Voyles, Melba Cantu, Pam Whitney, Pat Johnson, and Sandy Carson.
Color that Sings Day 5 - Detail is the Life of Painting
This document appears to be notes from an art class focusing on detail in painting. It includes brief mentions of various artists such as John Singer Sargent, Marie-Genevieve Bouliar, Franz Hals, Manet, Monet, Van Gogh, Wayne Thiebaud, Richard Diebenkorn, Elmer Bischoff, Melba Cantu, and the instructor Glenn Hirsch alongside images of their works. The document emphasizes exploring detail and layering techniques in paintings.
Color that Sings Day 4 - the Master Study
This document discusses master studies in art and techniques for learning styles. It provides examples of artists that could be studied like Max Beckmann, Alexei Jawlensky, and Amedeo Modigliani. The assignment is to copy a painting, paying attention to color and composition, then create an original composition using the color palette of the master studied. Examples of student master studies and responses exploring color techniques are shown, analyzing artists such as Georgia O'Keeffe, Richard Diebenkorn, Karl Schmidt-Rottluff, Emile Nolde, Charles Demuth, Winslow Homer, Amadeo Modigliani, Kazimir Malevich, Vincent van Gogh
Color That Sings Day 3 - Pattern that Moves
The document discusses the concept of pattern and rhythm in abstract art. It explains that repetition creates rhythm, and that rhythm can be simple and regular or complex and uneven. Variations in rhythm, such as fast and slow or simple and complex, affect the overall mood conveyed. Shape is another form of rhythm. The document also discusses how artists use techniques like light, color, and repetition of shapes to evoke feelings and suggests abstract artists can find inspiration in nature by taking elements out of context.
Color that Sings Day Two - Portraits, Trees, Layers-Transparent and Opaque
The document provides an outline for an art class taking place over multiple days. It lists various artists that will be discussed like Manet, Monet, Van Gogh, Sargent, Homer, and O'Keeffe. It also outlines techniques that will be taught like working with transparent watercolor washes in layers from light to dark. Future class sessions are scheduled to focus on topics like light, layers, energy, contemporary ideas, and historical context. A final critique and potluck is planned at the end.
Color that Sings
The document provides an outline for a fall 2017 art course titled "Color That Sings Pattern That Moves" taught by Glenn Hirsch at the Asheville Art Museum. Over the course of 7 classes, students will explore techniques for using light, layers, pattern, and context to make color "sing" in their paintings. Class topics include dramatic light and shadow, contrasting layers, pattern and repetition, course projects, and contemporary and historical frames of reference. The document also provides guidance on painting procedures such as underpainting with a limited palette before adding full color on top.
Not Flat Assemblage Workshop
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SFAI Intermediate-Advanced Painting Crit 12-7-16
This document summarizes a painting critique session held on December 7, 2016 and led by instructor Glenn Hirsch. It lists the names of several student artists who participated - Akhtar Husain, Ken Gorczyca, Shuling Ding, Judith Klain, Kathy Wilson, John Reamer, Eric Jordan, Jamie Stobie, and Charlotte Buchen - and includes brief details about their works but does not provide any overall assessments or conclusions from the critique.
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Watercolor week 2 color, apple, still life sublime 2016
- 1. Color Theory the Apple and Still Life in Watercolor Glenn Hirsch
- 2. What’s the ‘true color’ of the house? It depends on the time of day and the weather The ‘real’ color doesn’t exist independently of the light
- 3. Claude Monet painted ‘white marble’ on the Rouen Cathedral in different times of day, showing that color doesn’t exist independently of the light
- 4. Since color is “relative,” we use warm and cool versions of each color to enhance the feeling of “light”
- 5. Chromatic scale to enhance the illusion of “light” Lighter b/w value in the light Brighter intensity in the light Warmer (orangey) red in the light (vs bluer purplish) in the shadow
- 7. Chromatic scale • Light to dark • Bright to dull • Warm to cool
- 8. Black and white is the “value” of the color
- 10. Chromatic scale
- 11. Georgia O’Keefe
- 12. Dramatically lit apples using the chromatic scale – light to dark, bright to dull, warm to cool
- 13. Apples with and without glowing ‘light’
- 15. Student study of Cezanne
- 16. Step 1 Let it dry Step 2
- 25. ‘light’ = ‘emotion’ the contrast of light and dark the variety of warm and cool
Editor's Notes
- Georgia O’Keefe
- Emile Nolde
- Georgia O’Keefe
- Oskar Kokoschka Various Flowers 1939-40
- Ann Oram (recent)
- Emile Nolde
- Charles Demuth