Elements of Art Lesson Plans Value Value Lesson Plans Art
Analyzing the Elements of Fine art: Four Ways to Think About Value
Welcome to the terminal piece in our 7 Elements of Fine art series, in which Kristin Farr pairs videos from KQED Art School 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 infinite , shape , form , line , color and texture .
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How does value create accent and the illusion of lite?
Artists are able to create the illusion of light using unlike color and tonal values. Value defines how lite or nighttime a given color or hue tin can be. Values are best understood when visualized every bit a scale or gradient, from dark to calorie-free. The more than tonal variants in an epitome, the lower the contrast. When shades of similar value are used together, they also create a low contrast image. Loftier contrast images have few tonal values in betwixt stronger hues like black and white. Value is responsible for the appearance of texture and low-cal in fine art. Although paintings and photographs do not often physically light up, the semblance of light and dark can be achieved through the manipulation of value.
How practice artists produce and use different tonal values? To begin, watch the video higher up, on value, one of seven elements of art.
i. Emphasizing Portrait Subjects With Value and Contrast
Photography can be divers as drawing with lite. Photographers often capture high-contrast colors to emphasize parts of an prototype, and depression 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 broaden perspectives. In a Lens piece, "Jamel Shabazz'south 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 specially well-nigh New York's black and brown residents — by focusing on the vitality, diversity and dignity of his subjects.
People are the main 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 out when contrasting with their environment, cartoon the eye to the person captured in the image.
In "Style," 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 low contrast, and which are loftier dissimilarity? What stands out? What's the first thing you meet? What's the side by side matter you observe? Is your eye drawn to the high contrast or low contrast areas kickoff?
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 accolade 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 practise for each image. Which photos accept high contrast colors? Which take low dissimilarity colors, or a mix of both? Which areas are emphasized with high contrast shades? What do y'all think Mr. Shabazz wanted to reveal about his subjects?
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ii. Value Creates Illusion
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When colors have similar value and low contrast, they create the illusion of vibration or movement, as in the paintings of Agnes Martin, whose color choice oft stays within the realm of a sure value to create subtle variation with a puzzling effect for the eye. In "The Joy of Reading Betwixt 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 away, and their surfaces — whitish, pinkish, grayish, chocolate-brown — 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 utilize value to trick the eye and create subtle texture variation? Which of her paintings have a high contrast between colors, and which have colors of similar value? Wait through the images shown in "The Joy of Reading Betwixt Agnes Martin's Lines" and analyze her use of colour value.
And then, compare and dissimilarity Agnes Martin'due south use of contrasting color 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 Art: Highlights of the Past xl years," Kenneth Johnson writes:
Mr. Stanczak has been steadfastly devoted to using design and color to create striking and confounding illusions of movement and luminosity. In his neatly made abstractions nothing stays fixed: 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 but they feel almost hallucinatory.
In the Times writer Roberta Smith's contempo obituary about the abstract painter Julian Stanczak, Ms. Smith detailed how the artist accomplished 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 by his delicately textured paint surfaces and partly by the soft calorie-free that often infiltrated his forms and patterns, the effect of an infinitesimal adjustment of the shades of one or two colors.
Browse through the Times slide testify embedded to a higher place on "The Art of Julian Stanczak" and answer the following questions:
• Can you identify the techniques used to create optical illusions of depth, dimension and light?
•Which paintings accept the most subtle adjustments between shades?
•Which take a college contrast?
•Which kinds of value variants create the strongest texture?
•How exercise you depict the effect each image has on your eye?
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three. A Times Scavenger Chase
Image
At present that you lot've explored how value is used to emphasize subjects in art and creates the illusion of dark and light, and gained an agreement of the value of colors and how they touch each other, browse through features in The New York Times's Fine art & Pattern department; Lens, the Times site for photojournalism; or anywhere else on NYTimes.com, and claiming yourself to a scavenger hunt.
See if you can discover photographs or images of artwork with the following characteristics:
•A high contrast photograph.
•A low contrast photograph.
•An prototype of a painting with colors of highly contrasting values.
•An paradigm of a painting with colors of similar value.
•A photograph in which the level of value contrast affects the mood of the image.
•A photograph in which the value dissimilarity creates texture.
•A photo in which the value contrast emphasizes the focus of the paradigm.
4. Your Turn: Photo Portraits and Op Art
Here are 2 ideas for experimenting with value in your ain 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 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.
Have a portrait of a friend, or a self-portrait using the timer on your photographic camera. Use an editing app on your telephone similar Instagram or Snapchat to create different versions of the portrait with filters. Create ane blackness-and-white version with loftier contrast and one with depression contrast. Practice the same with a total-color version.
Which filters create the strongest value contrast and which flatten the photo with low contrasting lite and color? Arrange the four versions of your portrait into one epitome and compare the mood of each. How does value bring nigh the feeling portrayed?
b. Op Art Collage
To create an Op Art collage, choose two colors of construction paper with like values, like red and orangish, or light xanthous and calorie-free pink. Cut one color into thin strips or small shapes, and glue onto the other sheet with a glue stick. Consider the abstruse compositions of Julian Stanczak for inspiration. Adjacent, cull 2 colors that take a strong contrast, similar blue and orange. Create another cut-newspaper collage using the aforementioned technique.
Sol LeWitt is another artist who experimented with color values to whom you tin look for inspiration. View the Times slide show "Sol LeWitt at Mass MoCA," too equally the image higher up.
Hang your two paper collages side-by-side and critique the visual upshot of each. Do they vibrate or create dimension? Which has a stronger effect? Which is your eye fatigued to more than?
Considering value in your own artwork will assistance you lot emphasize the focal points, create depth and texture and assistance determine the feel yous want your viewer to take. Do you 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 serial? Hither are our lessons on shape, form, line, color, texture and infinite. How do 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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