Which Piece of Art Shown in the Unit Do You Like the Best? Why? Visual Art 414
Analyzing the Elements of Art: Four Means to Think Well-nigh Value
Welcome to the final piece in our Seven Elements of Art series, in which Kristin Farr pairs videos from KQED Art School with electric current New York Times pieces on the visual arts to help students make connections between formal fine art instruction and our daily visual culture.
The other pieces in the serial? Hither are lessons on infinite , shape , form , line , colour and texture .
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How does value create accent and the illusion of light?
Artists are able to create the illusion of light using different color and tonal values. Value defines how calorie-free or dark a given color or hue can be. Values are best understood when visualized as a scale or gradient, from nighttime to light. The more tonal variants in an image, the lower the contrast. When shades of like value are used together, they likewise create a low contrast image. High contrast images take few tonal values in between stronger hues similar black and white. Value is responsible for the appearance of texture and lite in art. Although paintings and photographs practise not oftentimes physically light upwardly, the semblance of calorie-free and dark can be achieved through the manipulation of value.
How do artists produce and utilise different tonal values? To begin, sentry the video above, on value, one of seven elements of art.
1. Emphasizing Portrait Subjects With Value and Dissimilarity
Photography can exist divers as drawing with low-cal. Photographers often capture high-contrast colors to emphasize parts of an image, and depression dissimilarity colors to add dimension, foreground and background.
The lensman Jamel Shabazz is known for his photographs of various communities that serve as social commentary to broaden perspectives. In a Lens slice, "Jamel Shabazz's 40 Years of Sights and Styles in New York," Maurice Berger writes:
Mr. Shabazz uses his camera predominantly to challenge stereotypes and negative perceptions about urban life — and particularly nearly New York'southward black and chocolate-brown residents — past focusing on the vitality, diversity and dignity of his subjects.
People are the master focus of Shabazz's piece of work, and the concept and emotional intention of his photographs are supported by the use of value and contrast to create emphasis. Subjects stand out when contrasting with their environment, drawing the eye to the person captured in the epitome.
In "Mode," Lower East Side, Manhattan, 2002," the blackness-and-white image that begins the slide show higher up, there are many tonal values (shades from the grey scale). Which parts of the paradigm are depression contrast, and which are high contrast? What stands out? What's the start thing you see? What's the side by side thing you find? Is your eye fatigued to the loftier contrast or depression contrast areas first?
In highlighting his community, Jamel Shabazz plays with value and contrast to make them stand up out, emphasizing fashion and community aesthetics as a manner to honor and certificate his New York neighbors. His memorable photographs communicate successfully in function because of his skilled arroyo to using value to create emphasis and meaning.
Click through the entire slide show and repeat the same exercise for each image. Which photos have high contrast colors? Which have low dissimilarity colors, or a mix of both? Which areas are emphasized with high dissimilarity shades? What do you think Mr. Shabazz wanted to reveal almost his subjects?
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2. Value Creates Illusion
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When colors take like value and low contrast, they create the illusion of vibration or movement, as in the paintings of Agnes Martin, whose color pick often stays inside the realm of a sure value to create subtle variation with a puzzling effect for the eye. In "The Joy of Reading Between Agnes Martin's Lines," Holland Cotter writes about the visual practise of differentiating color and value in her piece of work:
View her paintings from several feet away, and their surfaces — whitish, pinkish, grayish, brownish — expect hazily blank, equally if they needed a dusting or a buffing. Move closer, and complicated, eye-tricking, self-erasing textures come in and out of focus.
How does Martin employ value to fox the eye and create subtle texture variation? Which of her paintings have a high dissimilarity between colors, and which have colors of similar value? Wait through the images shown in "The Joy of Reading Between Agnes Martin'southward Lines" and clarify her utilise of color value.
And then, compare and contrast Agnes Martin'southward utilize of contrasting colour values with the work of the painter Julian Stanczak, known for his Op Art style that besides boldly plays with the eye. Op Art is a type of visual art that creates optical illusions. In his Times review of the exhibition "Julian Stanczak Primary of Op Fine art: Highlights of the Past xl years," Kenneth Johnson writes:
Mr. Stanczak has been steadfastly devoted to using pattern and colour to create striking and confounding illusions of motion and luminosity. In his neatly fabricated abstractions zip stays fixed: lines appear to vibrate, waver, rotate and undulate; colour glows and throbs as if electrically generated; hovering, gridded squares seem to fade in and out of visibility. The effects are retinal but they feel almost hallucinatory.
In the Times author Roberta Smith'southward recent obituary about the abstruse painter Julian Stanczak, Ms. Smith detailed how the artist achieved these optical illusions and became a leader in the Op Art style.
He produced some of the most emotionally gripping paintings associated with the Op trend. This was accomplished partly past his delicately textured pigment surfaces and partly past the soft low-cal that often infiltrated his forms and patterns, the consequence of an minute adjustment of the shades of one or two colors.
Scan through the Times slide show embedded to a higher place on "The Art of Julian Stanczak" and answer the following questions:
• Tin can you place the techniques used to create optical illusions of depth, dimension and calorie-free?
•Which paintings have the well-nigh subtle adjustments between shades?
•Which have a higher contrast?
•Which kinds of value variants create the strongest texture?
•How practise y'all draw the effect each image has on your center?
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3. A Times Scavenger Hunt
Image
Now that you've explored how value is used to emphasize subjects in fine art and creates the illusion of dark and light, and gained an understanding of the value of colors and how they affect each other, browse through features in The New York Times'due south Fine art & Design section; Lens, the Times site for photojournalism; or anywhere else on NYTimes.com, and challenge yourself to a scavenger hunt.
See if you tin find photographs or images of artwork with the following characteristics:
•A high contrast photo.
•A low contrast photograph.
•An image of a painting with colors of highly contrasting values.
•An image of a painting with colors of like value.
•A photograph in which the level of value contrast affects the mood of the image.
•A photograph in which the value contrast creates texture.
•A photograph in which the value dissimilarity emphasizes the focus of the paradigm.
iv. Your Plough: Photo Portraits and Op Fine art
Here are two ideas for experimenting with value in your own creative work.
a. Portraits With Varied Values
In 2014, The Times invited students to submit creative selfies that express who they are, and received hundreds, from college students to first graders. Marci Beene, who teaches digital photography at J.T. Hutchinson Middle School in Lubbock, Tex., turned the solicitation into an assignment for her seventh and 8th graders: "Do a selfie that goes beyond your face," she instructed, "and that represents something." Click through the photos above to see the results.
Take a portrait of a friend, or a self-portrait using the timer on your camera. Use an editing app on your phone like Instagram or Snapchat to create different versions of the portrait with filters. Create one black-and-white version with high dissimilarity and ane with low contrast. Do the same with a full-color version.
Which filters create the strongest value contrast and which flatten the photo with low contrasting light and color? Conform the four versions of your portrait into i image and compare the mood of each. How does value bring about the feeling portrayed?
b. Op Art Collage
To create an Op Art collage, choose 2 colors of construction paper with similar values, like red and orangish, or light yellowish and light pink. Cutting ane color into thin strips or small shapes, and gum onto the other sheet with a glue stick. Consider the abstract compositions of Julian Stanczak for inspiration. Next, choose two colors that take a strong contrast, like blue and orangish. Create some other cut-paper collage using the same technique.
Sol LeWitt is another creative person who experimented with color values to whom yous tin look for inspiration. View the Times slide show "Sol LeWitt at Mass MoCA," as well equally the image above.
Hang your two paper collages side-past-side and critique the visual outcome of each. Do they vibrate or create dimension? Which has a stronger effect? Which is your eye drawn to more?
Considering value in your ain artwork will assistance you emphasize the focal points, create depth and texture and help determine the experience you want your viewer to have. Exercise yous want to create a calming or jarring feeling? Value can help evoke an emotional response from your audience.
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Want to read the whole series? Here are our lessons on shape, grade, line, colour, texture and space. How do you teach these elements?
Source: https://www.nytimes.com/2018/01/03/learning/lesson-plans/analyzing-the-elements-of-art-four-ways-to-think-about-value.html
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