How Are The Elements Of Art Used In Drawing And Painting
Analyzing the Elements of Art: Iv Means to Think About Value
Welcome to the final piece in our 7 Elements of Art series, in which Kristin Farr pairs videos from KQED Art Schoolhouse with current New York Times pieces on the visual arts to help students brand connections between formal art instruction and our daily visual culture.
The other pieces in the series? Hither are lessons on space , shape , class , line , color 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 unlike color and tonal values. Value defines how low-cal or nighttime a given color or hue can be. Values are best understood when visualized every bit a scale or gradient, from night to light. The more tonal variants in an paradigm, the lower the contrast. When shades of similar value are used together, they also create a low contrast image. High dissimilarity images have few tonal values in between stronger hues like black and white. Value is responsible for the appearance of texture and light in art. Although paintings and photographs do not ofttimes physically light up, the semblance of light and night can be achieved through the manipulation of value.
How do artists produce and employ different tonal values? To begin, watch the video above, on value, ane of 7 elements of fine art.
i. Emphasizing Portrait Subjects With Value and Contrast
Photography can exist defined as drawing with calorie-free. Photographers often capture loftier-contrast colors to emphasize parts of an image, and depression contrast 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 piece, "Jamel Shabazz's 40 Years of Sights and Styles in New York," Maurice Berger writes:
Mr. Shabazz uses his photographic camera predominantly to challenge stereotypes and negative perceptions about urban life — and especially virtually New York's black and chocolate-brown residents — past focusing on the vitality, diversity and dignity of his subjects.
People are the main focus of Shabazz'south work, and the concept and emotional intention of his photographs are supported past the use of value and dissimilarity to create emphasis. Subjects stand up out when contrasting with their surround, drawing the middle to the person captured in the image.
In "Way," Lower East Side, Manhattan, 2002," the black-and-white epitome that begins the slide show above, there are many tonal values (shades from the grayness scale). Which parts of the prototype are low contrast, and which are high contrast? What stands out? What's the first thing you encounter? What'south the side by side thing you notice? Is your eye drawn to the high contrast or low contrast areas first?
In highlighting his community, Jamel Shabazz plays with value and dissimilarity to brand them stand up out, emphasizing way and customs aesthetics as a way to honor and document his New York neighbors. His memorable photographs communicate successfully in part 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 prototype. Which photos accept high contrast colors? Which have low dissimilarity colors, or a mix of both? Which areas are emphasized with high contrast shades? What do you think Mr. Shabazz wanted to reveal about his subjects?
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ii. Value Creates Illusion
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When colors have like value and low dissimilarity, they create the illusion of vibration or movement, as in the paintings of Agnes Martin, whose color choice often stays within the realm of a sure value to create subtle variation with a puzzling result for the eye. In "The Joy of Reading Betwixt Agnes Martin's Lines," Holland Cotter writes virtually the visual exercise of differentiating color and value in her piece of work:
View her paintings from several feet away, and their surfaces — whitish, pinkish, grayish, brownish — look hazily blank, as if they needed a dusting or a buffing. Move closer, and complicated, centre-tricking, self-erasing textures come in and out of focus.
How does Martin use value to play a joke on the center and create subtle texture variation? Which of her paintings have a loftier contrast between colors, and which have colors of like value? Look through the images shown in "The Joy of Reading Between Agnes Martin's Lines" and clarify her use of colour value.
Then, compare and contrast Agnes Martin's employ of contrasting colour values with the piece of work of the painter Julian Stanczak, known for his Op Art style that as well boldly plays with the centre. Op Art is a type of visual art that creates optical illusions. In his Times review of the exhibition "Julian Stanczak Master of Op Art: Highlights of the Past twoscore years," Kenneth Johnson writes:
Mr. Stanczak has been steadfastly devoted to using pattern and color to create striking and confounding illusions of motility and luminosity. In his neatly made abstractions nothing stays stock-still: lines appear to vibrate, waver, rotate and undulate; color glows and throbs as if electrically generated; hovering, gridded squares seem to fade in and out of visibility. The furnishings are retinal just they feel almost hallucinatory.
In the Times author Roberta Smith's recent obituary nigh the abstract 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 tendency. This was achieved partly by his delicately textured paint surfaces and partly by the soft light that often infiltrated his forms and patterns, the consequence of an minute adjustment of the shades of i or two colors.
Browse through the Times slide show embedded higher up on "The Art of Julian Stanczak" and answer the following questions:
• Can you place the techniques used to create optical illusions of depth, dimension and calorie-free?
•Which paintings have the most subtle adjustments between shades?
•Which have a higher contrast?
•Which kinds of value variants create the strongest texture?
•How do you describe the issue each prototype has on your eye?
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3. A Times Scavenger Hunt
Image
Now that yous've explored how value is used to emphasize subjects in 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'southward Art & Blueprint department; Lens, the Times site for photojournalism; or anywhere else on NYTimes.com, and claiming yourself to a scavenger hunt.
See if yous can find photographs or images of artwork with the following characteristics:
•A high contrast photograph.
•A low contrast photograph.
•An epitome of a painting with colors of highly contrasting values.
•An prototype of a painting with colors of similar value.
•A photograph in which the level of value contrast affects the mood of the paradigm.
•A photograph in which the value dissimilarity creates texture.
•A photograph in which the value contrast emphasizes the focus of the prototype.
4. Your Turn: Photo Portraits and Op Fine art
Here are ii ideas for experimenting with value in your ain creative work.
a. Portraits With Varied Values
In 2014, The Times invited students to submit artistic selfies that limited who they are, and received hundreds, from higher students to first graders. Marci Beene, who teaches digital photography at J.T. Hutchinson Eye School in Lubbock, Tex., turned the solicitation into an assignment for her seventh and eighth graders: "Do a selfie that goes beyond your face up," she instructed, "and that represents something." Click through the photos above to see the results.
Accept a portrait of a friend, or a cocky-portrait using the timer on your photographic camera. Use an editing app on your telephone like Instagram or Snapchat to create different versions of the portrait with filters. Create 1 black-and-white version with loftier contrast and 1 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? Adapt the four versions of your portrait into i paradigm and compare the mood of each. How does value bring almost the feeling portrayed?
b. Op Art Collage
To create an Op Art collage, choose two colors of structure paper with similar values, like red and orange, or light yellow and calorie-free pinkish. Cut one color into sparse strips or small shapes, and glue onto the other sheet with a glue stick. Consider the abstract compositions of Julian Stanczak for inspiration. Adjacent, choose two colors that have a strong contrast, like blue and orange. Create another cut-paper collage using the same technique.
Sol LeWitt is another artist who experimented with colour values to whom y'all can look for inspiration. View the Times slide show "Sol LeWitt at Mass MoCA," every bit well as the image in a higher place.
Hang your two paper collages side-by-side and critique the visual upshot of each. Exercise they vibrate or create dimension? Which has a stronger effect? Which is your center drawn to more than?
Because value in your own artwork will help you emphasize the focal points, create depth and texture and assist make up one's mind the feel yous desire your viewer to have. Do you want to create a calming or jarring feeling? Value tin help evoke an emotional response from your audience.
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Want to read the whole series? Here are our lessons on shape, form, line, color, texture and space. How practise you lot 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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