The Visual Elements Part II Lecture 3B
Lecture Overview: The 5 Main Visual Elements 1. Line /Shape 2 Space 3. Texture/Pattern 4. Time / Motion 5. Light / Color The language of art is the visual elements. I found I could only say things with color that I couldn t say in any other way things I had no words for. Georgia O Keeffe
LIGHT Artificial and natural light is used today by some artists as a medium. James Turell, Live Oak Friends Meeting House, Houston
Daniel Chester French (1850 1931). Abraham Lincoln. 1911 1922. a. As originally lit by daylight. b. With the addition of artificial light.
VALUE Values: shades of light and dark. Contrast: the degree of difference between shades of gray.
Chiaroscuro Chiaroscuro: Italian term meaning light/dark; refers to the balance of light and shade in a picture. Pierre Paul Prud hon, The Source
Chiaroscuro Chiaroscuro: Italian term meaning light/dark; refers to the balance of light and shade in a picture. Modeling: use of chiaroscuro shading from light to dark that gives a 3D appearance in 2D works. Paul Colin, Figure of a Woman, ca. 1930.
Gentileschi, Judith and Maidservant with the Head of Holofernes, ca. 1625. Tenebrism Tenebrism: from an Italian term meaning murky. Large dark areas contrasting sharply with smaller, bright areas.
COLOR What we perceive as color is actually white light being reflected off a surface. Black, white, and shades of gray are not colors; they are achromatic or neutral. The human eye can distinguish between millions of colors.
The 3 Color Properties Hue: the name of the color. Value: the relative lightness or darkness Tint: A color lighter than the normal value Shade: A color darker than the normal value Intensity: the relative purity of a color (sometimes called saturation) Tint Intense/Pure Green Shade
Views of the Ceiling before and after the restoration of 1980-1992. For more before and after photos see http://msopal 29.myweb.ug a.edu/before andafter.html
Views of the Ceiling before and after the restoration of 1980-1992. For more before and after photos see http://msopal 29.myweb.ug a.edu/before andafter.html
The Conventional Color Wheel Primary Hues (1): can t be created by mixing pigments. Secondary Hues: (2):created by mixing two primary colors Tertiary or Intermediate Hues: created by mixing one primary hue with one secondary hue. Color temperature: warm (yellow through red) or cool (violet to green).
COLOR SCHEMES
Analogous Analogous colors: composed of hues close to each other on the color wheel.
Complementary Complementary colors are hues that are directly opposite from each other on the color wheel.
Monochromatic Monochromatic color schemes are limited to one hue (mostly).
Whistler, Nocturne in Blue and Green.
Polychromatic Polychromatic color schemes can use an unlimited number of hues. Also called an open palette. Sonia Delaunay, Prismes Electriques, 1914.
Color and Emotions Color can trigger emotional responses or have strong cultural associations in a viewer. In our culture we associate: Green with envy or growth Red with anger or love Blue with sorrow White with purity or fright These are just a few examples, and don t apply to every work. Picasso, The Old Guitarist, 1903-1904.
Red and Green for van Gogh I have tried to express the idea that the café is a place where one can ruin oneself, run mad, or commit a crime. I have tried to express the terrible passions of humanity by means of red and green.
Red and Green for Kandinsky Kandinsky believed green was a combination of the colors of heaven and earth, and was passive. He believed red excited the heart. Combined, the harmony of red and green is very charming, and the epitome of the idealized life where one is satisfied living with the land.
Color Wheel Project For the rest of class you will work on your color wheel painting assignment. Your assignment must be completed before you leave. BRING THEM BACK TO CLASS NEXT WEEK FOR POINTS. I don t want to collect them while they are still wet.