How Can We Use Th Element of Art to Express Our Personal Style
Analyzing the Elements of Fine art: Four Ways to Think About Value
Welcome to the final piece in our Seven Elements of Art series, in which Kristin Farr pairs videos from KQED Art School with current New York Times pieces on the visual arts to assistance students brand connections between formal fine art education and our daily visual culture.
The other pieces in the serial? Here are lessons on infinite , shape , form , 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 different color and tonal values. Value defines how light or dark a given color or hue can be. Values are best understood when visualized as a scale or gradient, from dark to light. The more tonal variants in an image, 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 advent of texture and light in art. Although paintings and photographs do not often physically light up, the semblance of light and night tin be achieved through the manipulation of value.
How exercise artists produce and use different tonal values? To begin, sentry the video above, on value, one of seven elements of fine art.
1. Emphasizing Portrait Subjects With Value and Contrast
Photography tin can be divers every bit cartoon with light. Photographers often capture high-dissimilarity colors to emphasize parts of an prototype, and low contrast colors to add dimension, foreground and background.
The lensman 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 40 Years of Sights and Styles in New York," Maurice Berger writes:
Mr. Shabazz uses his camera predominantly to challenge stereotypes and negative perceptions nearly urban life — and especially about New York's blackness and brown residents — past focusing on the vitality, diversity and nobility of his subjects.
People are the main focus of Shabazz'south piece of work, and the concept and emotional intention of his photographs are supported by the use of value and dissimilarity to create accent. Subjects stand out when contrasting with their surround, drawing the heart to the person captured in the epitome.
In "Style," Lower Eastward Side, Manhattan, 2002," the black-and-white prototype that begins the slide testify to a higher place, there are many tonal values (shades from the grayness calibration). Which parts of the paradigm are low contrast, and which are high dissimilarity? What stands out? What's the outset thing you see? What'southward the next thing yous detect? Is your eye drawn to the high contrast or low dissimilarity areas first?
In highlighting his community, Jamel Shabazz plays with value and dissimilarity to make them stand out, emphasizing style and community aesthetics as a way to award and document his New York neighbors. His memorable photographs communicate successfully in role because of his skilled approach to using value to create accent and meaning.
Click through the entire slide show and repeat the same exercise for each image. Which photos accept high contrast colors? Which have low contrast colors, or a mix of both? Which areas are emphasized with high contrast shades? What do you recollect Mr. Shabazz wanted to reveal nigh his subjects?
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2. Value Creates Illusion
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When colors take similar value and low contrast, they create the illusion of vibration or movement, as in the paintings of Agnes Martin, whose color option oftentimes stays within the realm of a certain 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 exercise of differentiating color and value in her work:
View her paintings from several feet away, and their surfaces — whitish, pink, grayish, brownish — look hazily blank, as if they needed a dusting or a buffing. Move closer, and complicated, middle-tricking, cocky-erasing textures come in and out of focus.
How does Martin apply value to trick the eye and create subtle texture variation? Which of her paintings have a loftier contrast between colors, and which have colors of similar value? Look through the images shown in "The Joy of Reading Betwixt Agnes Martin's Lines" and analyze her employ 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 Fine art style that besides boldly plays with the eye. Op Art is a blazon of visual fine art that creates optical illusions. In his Times review of the exhibition "Julian Stanczak Master of Op Art: Highlights of the By forty years," Kenneth Johnson writes:
Mr. Stanczak has been steadfastly devoted to using pattern and color to create striking and confounding illusions of motion and luminosity. In his neatly made abstractions goose egg stays stock-still: lines announced 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 effects are retinal but they feel near hallucinatory.
In the Times writer Roberta Smith's recent obituary virtually the abstract painter Julian Stanczak, Ms. Smith detailed how the creative person accomplished these optical illusions and became a leader in the Op Art style.
He produced some of the almost emotionally gripping paintings associated with the Op trend. This was achieved partly by his delicately textured paint surfaces and partly past the soft light that often infiltrated his forms and patterns, the result of an infinitesimal adjustment of the shades of i or two colors.
Browse through the Times slide show embedded above on "The Fine art of Julian Stanczak" and reply the following questions:
• Can y'all place the techniques used to create optical illusions of depth, dimension and low-cal?
•Which paintings accept the most subtle adjustments between shades?
•Which have a higher dissimilarity?
•Which kinds of value variants create the strongest texture?
•How do you describe the upshot each image has on your eye?
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three. A Times Scavenger Chase
Paradigm
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 understanding of the value of colors and how they affect each other, browse through features in The New York Times'south Art & Pattern section; Lens, the Times site for photojournalism; or anywhere else on NYTimes.com, and claiming yourself to a scavenger chase.
See if you tin discover photographs or images of artwork with the following characteristics:
•A high contrast photograph.
•A depression contrast photograph.
•An prototype of a painting with colors of highly contrasting values.
•An epitome of a painting with colors of like value.
•A photograph in which the level of value contrast affects the mood of the prototype.
•A photograph in which the value contrast creates texture.
•A photograph in which the value contrast emphasizes the focus of the image.
4. Your Plow: Photo Portraits and Op Art
Hither are 2 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 limited who they are, and received hundreds, from college 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," she instructed, "and that represents something." Click through the photos above to come across the results.
Accept a portrait of a friend, or a self-portrait using the timer on your camera. Utilise 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 loftier contrast and ane with low contrast. Do the same with a total-colour version.
Which filters create the strongest value dissimilarity and which flatten the photograph with low contrasting lite and colour? Arrange the four versions of your portrait into one epitome 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 two colors of construction paper with similar values, like cerise and orange, or calorie-free yellow and light pinkish. Cutting one color into thin strips or modest shapes, and glue onto the other sheet with a glue stick. Consider the abstruse compositions of Julian Stanczak for inspiration. Adjacent, cull ii colors that have a stiff contrast, like blue and orange. Create another cut-paper collage using the same technique.
Sol LeWitt is another artist who experimented with color values to whom you can look for inspiration. View the Times slide show "Sol LeWitt at Mass MoCA," equally well as the paradigm above.
Hang your two paper collages side-by-side and critique the visual effect of each. Do they vibrate or create dimension? Which has a stronger effect? Which is your eye drawn to more?
Because value in your own artwork will aid you emphasize the focal points, create depth and texture and help determine the experience you lot want your viewer to take. Do y'all want to create a calming or jarring feeling? Value can assist evoke an emotional response from your audience.
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Want to read the whole series? Here are our lessons on shape, class, line, color, 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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