Which Piece of Art Shown in the Unit Do You Like the Best? Why?
Analyzing the Elements of Art: Four Ways to Remember About Value
Welcome to the final piece in our Seven 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 make connections between formal art instruction and our daily visual culture.
The other pieces in the serial? Hither are lessons on space , shape , class , line , colour and texture .
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How does value create emphasis and the illusion of calorie-free?
Artists are able to create the illusion of light using unlike colour and tonal values. Value defines how lite or dark a given color or hue can exist. Values are best understood when visualized as a calibration or gradient, from night to light. The more tonal variants in an epitome, the lower the contrast. When shades of like value are used together, they besides create a depression contrast epitome. High contrast images accept few tonal values in between stronger hues like black and white. Value is responsible for the advent of texture and light in fine art. Although paintings and photographs exercise not oft physically light up, the semblance of light and dark can exist achieved through the manipulation of value.
How do artists produce and utilise different tonal values? To begin, scout the video above, on value, one of seven elements of art.
1. Emphasizing Portrait Subjects With Value and Contrast
Photography tin can exist defined as cartoon with low-cal. Photographers frequently capture high-contrast colors to emphasize parts of an image, and low contrast colors to add dimension, foreground and groundwork.
The photographer Jamel Shabazz is known for his photographs of diverse communities that serve as social commentary to augment perspectives. In a Lens piece, "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 especially about New York'south black and dark-brown residents — by focusing on the vitality, variety and dignity of his subjects.
People are the principal focus of Shabazz's work, and the concept and emotional intention of his photographs are supported past the use of value and contrast to create accent. Subjects stand up out when contrasting with their environment, cartoon the eye to the person captured in the image.
In "Fashion," Lower East Side, Manhattan, 2002," the black-and-white image that begins the slide show above, in that location are many tonal values (shades from the grey scale). Which parts of the image are depression contrast, and which are high contrast? What stands out? What's the first affair you see? What'southward the next matter yous notice? Is your eye drawn to the high contrast or low contrast areas first?
In highlighting his community, Jamel Shabazz plays with value and contrast to make them stand out, emphasizing fashion 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 approach to using value to create emphasis and meaning.
Click through the unabridged slide evidence and repeat the aforementioned exercise for each image. Which photos have high contrast colors? Which accept low contrast colors, or a mix of both? Which areas are emphasized with high dissimilarity shades? What do you think Mr. Shabazz wanted to reveal about his subjects?
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two. Value Creates Illusion
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When colors accept similar value and low contrast, they create the illusion of vibration or motion, as in the paintings of Agnes Martin, whose color choice oftentimes stays within the realm of a certain value to create subtle variation with a puzzling consequence 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 work:
View her paintings from several anxiety away, and their surfaces — whitish, pinkish, grayish, dark-brown — look hazily blank, every bit if they needed a dusting or a buffing. Move closer, and complicated, heart-tricking, self-erasing textures come in and out of focus.
How does Martin use value to trick the eye and create subtle texture variation? Which of her paintings have a loftier dissimilarity 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 analyze her apply of color value.
And so, compare and contrast Agnes Martin's use of contrasting color values with the piece of work of the painter Julian Stanczak, known for his Op Art mode that also boldly plays with the eye. Op Fine art is a type of visual art that creates optical illusions. In his Times review of the exhibition "Julian Stanczak Primary of Op Art: Highlights of the Past 40 years," Kenneth Johnson writes:
Mr. Stanczak has been steadfastly devoted to using pattern and color to create striking and misreckoning illusions of motion and luminosity. In his neatly made abstractions zippo stays fixed: lines appear to vibrate, waver, rotate and undulate; color glows and throbs equally 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 writer Roberta Smith'due south recent obituary about the abstract painter Julian Stanczak, Ms. Smith detailed how the artist achieved these optical illusions and became a leader in the Op Fine art style.
He produced some of the near emotionally gripping paintings associated with the Op trend. This was achieved partly past his delicately textured paint surfaces and partly by the soft light that often infiltrated his forms and patterns, the result of an infinitesimal adjustment of the shades of one or two colors.
Scan through the Times slide bear witness embedded above on "The Fine art of Julian Stanczak" and reply the following questions:
• Tin can you place the techniques used to create optical illusions of depth, dimension and light?
•Which paintings have the about subtle adjustments between shades?
•Which have a higher contrast?
•Which kinds of value variants create the strongest texture?
•How do y'all describe the effect each prototype has on your eye?
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3. A Times Scavenger Chase
Image
Now that you've explored how value is used to emphasize subjects in art and creates the illusion of nighttime and light, and gained an agreement of the value of colors and how they affect each other, browse through features in The New York Times's Art & Blueprint section; Lens, the Times site for photojournalism; or anywhere else on NYTimes.com, and challenge yourself to a scavenger chase.
See if you tin can 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 similar value.
•A photograph in which the level of value contrast affects the mood of the paradigm.
•A photo in which the value contrast creates texture.
•A photo in which the value dissimilarity emphasizes the focus of the image.
four. Your Turn: Photo Portraits and Op 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 higher students to start graders. Marci Beene, who teaches digital photography at J.T. Hutchinson Centre Schoolhouse 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 higher up to encounter the results.
Take a portrait of a friend, or a cocky-portrait using the timer on your camera. Apply an editing app on your phone like Instagram or Snapchat to create different versions of the portrait with filters. Create 1 black-and-white version with high contrast and one with low contrast. Do the aforementioned with a full-colour version.
Which filters create the strongest value dissimilarity and which flatten the photo with low contrasting low-cal and colour? Arrange the four versions of your portrait into one prototype and compare the mood of each. How does value bring about the feeling portrayed?
b. Op Art Collage
To create an Op Art collage, cull ii colors of construction paper with similar values, like crimson and orange, or light yellow and calorie-free pink. Cut one color into thin strips or modest shapes, and gum onto the other sheet with a mucilage stick. Consider the abstract compositions of Julian Stanczak for inspiration. Next, choose two colors that accept a strong contrast, similar blue and orangish. Create another cutting-paper collage using the aforementioned technique.
Sol LeWitt is some other artist who experimented with color values to whom you tin can await for inspiration. View the Times slide show "Sol LeWitt at Mass MoCA," also as the epitome above.
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 event? Which is your centre drawn to more?
Because value in your own artwork volition help you emphasize the focal points, create depth and texture and assistance determine the feel you want your viewer to have. Do you want to create a calming or jarring feeling? Value can aid evoke an emotional response from your audition.
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Desire to read the whole series? Hither are our lessons on shape, grade, line, colour, texture and infinite. How do you 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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