What Is the Main Element of a Work of Art
Analyzing the Elements of Art: Four Means to Call back Almost Value
Welcome to the final piece in our Vii Elements of Art series, in which Kristin Farr pairs videos from KQED Fine art School with current New York Times pieces on the visual arts to help students brand connections between formal art didactics and our daily visual culture.
The other pieces in the series? Here are lessons on infinite , shape , grade , line , colour and texture .
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How does value create emphasis and the illusion of light?
Artists are able to create the illusion of light using different colour and tonal values. Value defines how calorie-free or dark a given colour or hue can be. Values are best understood when visualized as a scale or slope, from dark to light. The more tonal variants in an paradigm, the lower the contrast. When shades of similar value are used together, they too create a low contrast image. High contrast images have few tonal values in between stronger hues like black and white. Value is responsible for the appearance of texture and low-cal in art. Although paintings and photographs do not ofttimes physically calorie-free up, the semblance of lite and nighttime can exist accomplished through the manipulation of value.
How do artists produce and use different tonal values? To begin, watch the video higher up, on value, one of vii elements of fine art.
1. Emphasizing Portrait Subjects With Value and Contrast
Photography tin be defined equally cartoon with light. Photographers often capture high-contrast colors to emphasize parts of an image, and depression contrast colors to add together dimension, foreground and background.
The photographer Jamel Shabazz is known for his photographs of diverse communities that serve as social commentary to broaden perspectives. In a Lens piece, "Jamel Shabazz's twoscore Years of Sights and Styles in New York," Maurice Berger writes:
Mr. Shabazz uses his camera predominantly to challenge stereotypes and negative perceptions well-nigh urban life — and especially about New York's blackness and brown residents — by focusing on the vitality, diversity and nobility of his subjects.
People are the master focus of Shabazz'south work, and the concept and emotional intention of his photographs are supported by the use of value and contrast to create emphasis. Subjects stand up out when contrasting with their environs, drawing the centre to the person captured in the image.
In "Style," Lower Eastward Side, Manhattan, 2002," the black-and-white image that begins the slide show higher up, there are many tonal values (shades from the gray scale). Which parts of the epitome are low contrast, and which are high contrast? What stands out? What's the first thing you see? What's the next affair you notice? Is your eye drawn to the high contrast or low contrast areas first?
In highlighting his customs, Jamel Shabazz plays with value and contrast to make them stand out, emphasizing fashion and community aesthetics equally a mode to honor and certificate his New York neighbors. His memorable photographs communicate successfully in function considering of his skilled approach to using value to create emphasis and meaning.
Click through the entire slide prove and echo the same exercise for each image. Which photos have loftier contrast colors? Which have low contrast colors, or a mix of both? Which areas are emphasized with high contrast shades? What exercise yous recollect Mr. Shabazz wanted to reveal about his subjects?
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2. Value Creates Illusion
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When colors have like value and low contrast, they create the illusion of vibration or movement, equally in the paintings of Agnes Martin, whose color option ofttimes stays inside the realm of a certain value to create subtle variation with a puzzling outcome for the eye. In "The Joy of Reading Between Agnes Martin's Lines," Kingdom of the netherlands Cotter writes about the visual exercise of differentiating color and value in her work:
View her paintings from several feet abroad, and their surfaces — whitish, pinkish, grayish, brownish — look hazily blank, as if they needed a dusting or a buffing. Move closer, and complicated, center-tricking, self-erasing textures come in and out of focus.
How does Martin employ value to trick the eye and create subtle texture variation? Which of her paintings accept a loftier contrast betwixt colors, and which have colors of similar value? Look through the images shown in "The Joy of Reading Between Agnes Martin'southward Lines" and clarify her use of color value.
Then, compare and contrast Agnes Martin's use of contrasting color values with the work of the painter Julian Stanczak, known for his Op Art style that as well 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 Chief of Op Art: Highlights of the Past forty years," Kenneth Johnson writes:
Mr. Stanczak has been steadfastly devoted to using pattern and color to create striking and misreckoning illusions of movement and luminosity. In his neatly made abstractions nothing 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 nearly hallucinatory.
In the Times writer Roberta Smith'south recent obituary most the abstract painter Julian Stanczak, Ms. Smith detailed how the creative person achieved these optical illusions and became a leader in the Op Art fashion.
He produced some of the most emotionally gripping paintings associated with the Op trend. This was achieved partly past his delicately textured pigment surfaces and partly by the soft low-cal that ofttimes infiltrated his forms and patterns, the result of an infinitesimal adjustment of the shades of one or 2 colors.
Scan through the Times slide bear witness embedded above on "The Art of Julian Stanczak" and respond the following questions:
• Can you identify the techniques used to create optical illusions of depth, dimension and light?
•Which paintings have the most subtle adjustments betwixt shades?
•Which accept a higher dissimilarity?
•Which kinds of value variants create the strongest texture?
•How do you lot describe the effect each image has on your eye?
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3. A Times Scavenger Hunt
Prototype
Now that you've explored how value is used to emphasize subjects in fine art and creates the illusion of night and low-cal, and gained an understanding of the value of colors and how they affect each other, browse through features in The New York Times'south Art & Design department; Lens, the Times site for photojournalism; or anywhere else on NYTimes.com, and challenge yourself to a scavenger chase.
Run across if you lot can find photographs or images of artwork with the following characteristics:
•A loftier contrast photograph.
•A low dissimilarity 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 epitome.
•A photograph in which the value contrast creates texture.
•A photo in which the value contrast emphasizes the focus of the image.
4. Your Turn: Photograph Portraits and Op Fine art
Here are two ideas for experimenting with value in your own artistic 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 eighth graders: "Do a selfie that goes beyond your face up," she instructed, "and that represents something." Click through the photos above to come across the results.
Take a portrait of a friend, or a cocky-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 contrast and one with depression contrast. Practise the same with a full-color version.
Which filters create the strongest value dissimilarity and which flatten the photograph with depression contrasting low-cal and colour? Arrange the four versions of your portrait into one image and compare the mood of each. How does value bring about the feeling portrayed?
b. Op Art Collage
To create an Op Fine art collage, choose two colors of structure paper with like values, similar red and orange, or light yellow and light pink. Cut one color into thin strips or pocket-sized shapes, and glue onto the other sheet with a glue stick. Consider the abstruse compositions of Julian Stanczak for inspiration. Side by side, cull two colors that accept a strong contrast, like bluish and orange. Create another cut-newspaper collage using the same technique.
Sol LeWitt is another artist who experimented with color values to whom you lot can expect for inspiration. View the Times slide bear witness "Sol LeWitt at Mass MoCA," as well every bit the prototype to a higher place.
Hang your ii paper collages side-by-side and critique the visual event of each. Practice they vibrate or create dimension? Which has a stronger result? Which is your eye drawn to more?
Considering value in your own artwork volition help you emphasize the focal points, create depth and texture and help determine the experience you desire your viewer to take. Do you want to create a calming or jarring feeling? Value can assistance 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 infinite. How do yous teach these elements?
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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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