Order 2316287: art appreciation

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• Type of paperEssay (Any Type)
• SubjectArt, Theatre and Film
• Number of pages1
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Patrick Jacobs and David Schnell: Implying Space and Depth: After seeing the work of the two artists Patrick Jacobs and David Schnell, describe in what ways their work reflects the ability to imply depth and space and how well you think they did it. Answer these questions: Looking at the images provided above, describe which techniques each artist is using to imply space? Perspective? If so, what type of perspective? EXAMPLE: David Schnell uses (enter spacial technique) to imply 3D space on a flat 2D canvas. Peter Jacobs work is actually 3D but uses (enter spacial technique) to make his use of small space look even bigger. Feel free use this example to get your discussion started or use your own words. Briefly compare (not contrast) their work to another artist discussed in this or previous packs. Name the artist and title of the work. And finally, of all the techniques used to imply space on a flat two-dimensional surface – stacking, overlap, chiaroscuro, atmospheric perspective, linear perspective, etc.. – discuss which of these you think is most effective and why. Use another example of artwork from the text to support this point. (As always, be sure to name the artist when discussing their work.)

Art Appreciation

Visual Elements

in COLOR

Joe Clark

Example: I love it when my white shirt glows atomic blue when
exposed to a fluorescent black-light.

“Everything we see is made visible by the radiant energy we call light.” Frank

Light is usually classified into two categories – natural light (or
light from the sun), and artificial light, which in most
circumstances, includes incandescent or fluorescent. Where the
light comes from, it’s intensity, color and direction, all affect the
way an object appears. The appearance of that object can change
as its lighting changes.

Light
1 0%

2 10%

3 20%

4 30%

5 40%

6 50%

7 60%

8 70%

9 80%

10 90%

11 100%

Artists become very perceptive to how light hits a surface. They
even have their own terminology to relate to how bright or dark
the light on an object appears to be. What most people call
“shading,” artists call value or tone. Value ranges from the
brightest white to the darkest black. The subtle use of value can
help an artist imply the shape of an object. Tools, like this value
scale on the right, help the artist recognize then reproduce light
on his subject.

Implied Light
The diagram below demonstrates that our perception of an object is greatly
influenced by its surroundings. The center bar is 50% grey, the same middle
value as number 6 on the value scale from the previous page. But notice
how the bar appears to change in value from dark to light as it travels
across the field.

Chiaroscuro is an Italian term used to describe
how artists imply a three-dimensional object on a
two-dimensional surface by imitating light. The
subtle shift from light to dark on the sphere to the
right, enhance its roundness. Notice how the ball
doesn’t need an outline to separate it from the
background. That’s the beauty of chiaroscuro.
When drawing or painting from life, things look
more real when you’re able to master this
technique. In life we aren’t outlined like cartoons.
Our shape responds to the effect of the conditions
of light. Learn more about this ball: Click Here

Implied Light – Leonardo da Vinci
Chiaroscuro, like a lot of progressive visual thinking, was developed
during the Renaissance.

Leonardo da Vinci, was more than an artist.
Like a lot of creative people at that time, he
had to be accomplished at many different
things. He was a scientist, an architect, and
an expert painter, draftsman and sculptor.
One of his most recognizable works is the
Mona Lisa (left).

His mastery of chiaroscuro is evident in the
smooth transitions of value in her face and
hands. No outlines were needed – by
design, he uses light and the contrast of
the foreground and background to separate
her figure from its environment. The use of
“smoky” or blurred edges, called sfumato,
invented by Leonardo, enhances the effect.

Read more about Leonardo on page 273.

Color
What we call white light, sunlight for example, is actually made up of every
color of the visible spectrum. A discovery by Sir Isaac Newton found that
when white light from the sun passed through a prism, it separated into
bands of color that matched the colors of the rainbow. The sequence of
these colors is always the same – red, orange, yellow, green, blue, indigo,
and violet. Tip: This can best be remembered by the acronym ROY G BIV.

Objects that appear to have color are only reflecting those color of the
spectrum that illuminate them. When light illuminates an object, some of
the light is absorbed by the surface, the rest is reflected. Example: In simple
terms, a red apple looks red because it absorbs all the colors of the
spectrum but reflects red light.

When all wavelengths of light are absorbed, the object
appears black. When all wavelengths are reflected, the
object is white. Black and white, and their combination,
gray, are referred to as achromatic or neutrals. They are
not included in the spectrum of colors.

Color
Our eye balls can distinguish millions of colors. Artists identify these
variations according to three categories: hue, value, and intensity.
Hue is another name for color – yellow, green and blue are hues.

Value, like before, refers to light and dark transitions using black to white.
Black and white can be added to a hue to change its value. Tinting refers to
the addition of white to a color to make it lighter. When black is added to a
color, it is called shading.

Intensity, refers to the purity of a hue. The purity of a color is determined by its
saturation. Intensity changes when the color is altered in any way. A color is its
most intense and bright in is natural form. Shading or tinting
a hue diminishes its intensity. The results are a dulling,
Softening and loss of brightness of the color.
(The illusion of atmospheric perspective in painting
is created this way.)

The image on the right is a color wheel. It’s a
reference guide for the artist enabling him to
quickly compare colors and even see what
happens when that color loses saturation.

Primary colors when
mixing pigments

Color
We experience colors in two ways:

• Pigment Color
• Light Color

You computer experts may know the two options for
color images-one is printer based, one is web based.
Plan on printing the image? Use CMYK. If your image
is only to be viewed on a monitor, use RGB. The right
diagram shows the pigment primary hues. From a
variation of these three, cyan, magenta, and yellow,
(with a little help from black “K”,) all colors of the
spectrum can be mixed.
The true pigment primaries are red, yellow, and blue. These are the only hues that
cannot be created by intermixing other hues.

With light primaries, any combination of colors
produces a lighter color. This is called an additive
color mixture. Your TV uses this to create multi –
color images.

The light primaries are red, green, and blue. These
electric light colors imitate natural light and actually
create white light when mixed. (Left)

Color Schemes
Color combinations can be used to obtain certain moods in their work.

A monochromatic color scheme is especially effective in communicating an
artist’s content and affecting a viewer’s disposition. Example: A painting
using variations of blue would get a very different emotional response than
that of a red painting.

A complementary color scheme involves two colors that are completely
opposite each other on the color wheel. Because of this, the two colors
contrast strongly. The result is vibrant. Some of the best known color
combinations are complementary hues.
Sports uniforms often use this scheme.
The yellow/purple of the LA Lakers.
Blue/orange of the NY Mets.
And we all recognize Christmas colors
as red/green.

Here’s a cool trick to try: This Texas flag
was created using the complements of
the actual colors. Stare at its center for
about 30 seconds and then go to the
next slide.

What do you see? What’s happened to the original colors?
The image has been temporarily “burned” into your retina. The image you see now is called
an Afterimage and the colors you see are complementary to the original colors.
Learn more HERE: Afterimage

HERE: Afterimage

https://en.wikipedia.org/wiki/Afterimage

In this painting,

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artist Keith Haring, uses complementary color scheme of red and green equal in
intensity. Even though the colors are “complements” they visually vibrate, fighting for attention.

Are these figures dancing? Are they fighting? Are they dead?

Notice how they tend to move when you’re not looking at them directly…

THIS IS MEAN TO HURT.
Notice what happens when you juxtapose two colors of equal intensity in the same image.

The results can be unpleasant to look at.

It can also give the illusion of movement.

The colors will fight each other.

Visually competing to see which can hit your eye first.

Let’s take a moment and explore these color schemes
by looking at he work of Vincent Van Gogh. If you
wanting to understand how these color combinations
work, he’s a great artist to begin with. Throughout the
short time he was a painter he produced about 900
paintings – and most of them show us that he was
definitely not afraid of color.

Many of Van Gogh’s paintings use color schemes based
on complementary colors. The painting on the left is a
self-portrait of Vincent, it is composed of two colors
opposite each other on the color wheel: Blue and
orange. If you were to look at a color wheel, you’d see
that blue and orange are complementary colors. Using
any two contrasting colors will help the artist create
vibrant, expressive paintings.

Van Gogh, additionally, relied on color schemes based
on analogous colors. The use of colors next to each
other on the color wheel help create a harmonic
balance that unifies the painting’s composition.

These color combinations along with his
characteristically energetic lines and thickly applied
paint, are reasons why his paintings are memorable.

Self portrait
Vincent van Gogh
1889
Oil on canvas

In this painting, Van Gogh uses an
ANALOGOUS color scheme which
combines colors next to each other
on the color wheel.

The results of his pallet of yellow,
orange and green gives the viewer a
warm feeling that is both comforting
and nostalgic.

This painting looks good because the
colors used are often found in nature
and are harmonious and pleasing to
the eye.

Unlike complementary colors, an
analogous color scheme allows just
enough contrast to get your attention
in a subtle way.

Sunflowers
Vincent van Gogh
1888
Oil on canvas

ANALOGOUS

Yellow
Green
Blue

The Olive Trees
Vincent van Gogh
1889
Oil on canvas

In this painting, Van Gogh uses a MONOCHROMATIC color
scheme of yellow tinted with white and shaded with umber
and sienna. The result is the unified composition of a single
color and a harmonious balance of lights and darks

Three Pair of Shoes
Vincent van Gogh
1886
Oil on canvas

“I have tried to express the terrible passions of humanity by means of red and green. The room is blood red
and dark yellow with a green billiard table in the middle; there are four lemon-yellow lamps with a glow of
orange and green. Everywhere there is a clash and contrast of the most alien reds and greens. The blood-red
and the yellow-green of the billiard table, for instance, contrast with the soft tender Louis XV green of the
counter, on which there is a rose nosegay. The white clothes of the landlord, watchful in a corner of that
furnace, turn lemon-yellow, or pale luminous green.” – Vincent Van Gogh

In this painting, Van Gogh
uses an COMPLEMENTARY
color scheme of colors
opposite each other on
the color wheel:

Red and green.

Below are his thoughts on
his choice of colors for
this painting.

The Night Cafe
Vincent van Gogh
1888
Oil on canvas

Optical Color Mixture
“Color sensations more vibrant than those achieved with actual pigment
mixture can be obtained when dots of pure color are placed together so that
they blend in the eye and mind, to create the appearance of other hues.”

Prebles and Frank

A Sunday on La Grande Jatte, (right) is
painter George Seurat’s scientific approach
at capturing the “brilliance and purity of
natural Light.” In step with the
Post-Impressionist movement, Seurat used
visibly separate, tiny unblended dots of
paint to create a technique called
pointillism. This labor intensive style was
developed through the artist’s studies of
color optics.

Modern four-color printing,
(CMYK,) incorporates much of the
same techniques. Dots of pure
color are juxtaposed in stages to
create a wide range of color.

Vocabulary Click on the term to return to that page.
Value – The relative lightness and darkness of the surface of an object.
Chiaroscuro – The use of subtle shifts of value to imply and separate
the shape of an object from its background without the use of outlines.
Sfumato – Atmosphere created in paintings by softly blurring edges
around the figure.
Visible Spectrum – The division of white light through a prism. Spectral
colors are: red, orange, yellow, green, blue, indigo, and violet.
Achromatic – Often referred to as neutrals, these include black, white
and their combination, gray.
Hue – Another name for individual spectral colors.
Tint – Brightening a color by adding white.
Shade – Adding black to a color to make it darker.
Intensity – Also called saturation, refers to the purity of a color.
Monochromatic – Variations in value and intensity of a single color.
Complementary Colors – Two colors directly opposite each other on
the color wheel.
Pointillism – Technique developed by George Seurat in which dots of
pure color are placed in close proximity to create new colors.

hot spot

middle
gray

core shadow

reflected light

Chiaroscuro on a Sphere
Observing the way light and value wrap around a sphere enables an artist
to recreate three-dimensional objects on a two-dimensional picture-plane.

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• Visual Elements Color

Visual Elements Color
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Visual Elements Color

Art Appreciation
Joe Clark

Space
“Space is the indefinable, general receptacle of all things – the
seemingly empty space around us” Frank and Preble

Space is best defined by the things that surround it. Example: Ever try to find
a seat in a crowded movie theatre? We know an empty seat when we see one
because it’s the one without a butt in it. That space has been defined by all
the other butts around. That space is empty but tells a powerful story.

It says I can sit down now.

Making things look real on a flat surface can sometimes be a tough problem
for an artist to solve. On the flat two-dimensional picture plane of a drawing or
painting, space is an illusion. Artists often use different visual elements to
imply depth and space.

For example: This wall painting from the tomb of
Nebamen, shows Egyptian workers preparing pottery.
The Egyptian artist implied space by organizing
subject elements according to specific rules. In
Egyptian paintings, objects and people are stacked on
lines one atop another. This line designates ground.
This allowed the replication of repeated elements
without the possible confusion of overlapping too
many images.

Pietro Perugino
Keys to the Kingdom
Fresco
c. 1481–1482

Now compare the Egyptian method of stacking to this Renaissance
painting. Notice how the artist has a more natural way of implying space
through his use of scale, overlap, lines and color.

Space (continued)
Clarity was vital to the Egyptian artist. To achieve
this, certain rules dictated how the subject matter
could be portrayed on a two-dimensional surface.

In paintings like this on the right, Pond in a Garden,
the artist painted the pond square with the picture
plane as if viewed from above. Geese, fish, and
surrounding trees were then painted at a profile
and turned on an axis to ensure the viewer’s
understanding of the scene. Have you ever noticed
that you only see an Egyptian figure at a profile to

the viewer? Click here to learn why.

Compare the ancient Egyptian’s use of
space to this detail of a drawing by Diego
Rivera. His depiction of a working motor
factory is full of overlapping figures. Every
inch of the surface is utilized to create a
visually crowded and frantic space. Diego
was willing to compromise clarity in order
to enhance his content of a busy factory.

Notice the contrast of elements in this Egyptian wall painting depicting a
victorious Pharaoh in battle.

Viewing from right to left, notice how organized and stacked the Egyptian
army is compared to the chaotic piles of the enemy.

Space (continued)
Because the picture plane is limited by its
dimensions, (horizontal and vertical
measurements,) the artist decides how best to
utilize the space given.

Example: To the left is The Oxbow, a painting by
Thomas Cole. It would have been impossible for
the artist to capture the entire river on one
canvas. The viewer understands that the river,
mountains and clouds continue beyond the
unseen area of the picture plane.
This is called denying the picture plane.

Division of Space
How you divide space on the picture plane can
make or break the content of what you are trying
to visually say.

Example: Let’s say you’re an ad designer working
on a project for a new anti-depressant pill. Which

of the images on the right best describes how the
client will feel after taking the medicine?

Putting the empty space in the right place
is so important! A. B.

Implied Depth
Italian Renaissance painters, not satisfied with
traditional methods of implying spatial depth
on their canvases, developed a form of linear

perspective to depict the way objects really
appear in a natural environment.

Isometric Perspective
Lines moving into the
distance do not converge
but stay parallel. This form
of perspective is used
today by architects
and engineers.

Linear perspective allows the
artist to place the viewer at a
specific vantage point.

Objects and the space between
objects appears smaller when
seen in the distance. Parallel
lines seem to converge as they
recede into the distance. This
point of convergence is called
the vanishing point.

The vanishing point is always on the horizon. The horizon
line is always eye level to the viewer. An artist can alter the
viewer’s vantage point by simply raising or lowering the
horizon line.

One Point
Perspective

Implied Depth (continued)

The vanishing point is always on the horizon.
The horizon line is always eye level to the viewer.

The most famous example
of linear perspective is
Leonardo de Vinci’s
The Last Supper.

For Leonardo, the use of
linear perspective allowed
him to place proportional
figures in a realistic space.
But even more important, he
utilized the technique to
center the viewer’s
Attention on the painting’s
focal point, Jesus.

In the diagram to the right,
notice how the horizon line
and vanishing point cross
the eyes of Christ. This
allows all receding lines to
converge on the focal point.

Vanishing Point Vanishing Point

A drawing has two-point perspective when it contains two vanishing points on the horizon
line. In an illustration, these vanishing points can be placed on opposite sides along the
horizon. In the example above two-point perspective is used to draw the same cube as in
the one-point example. The difference is now the corner of a house is closest to the viewer.
Seen from this corner instead of a wall, notice how one wall of a house recedes towards one
vanishing point while the other wall recedes towards the opposite vanishing point.
Also notice the viewer’s vantage point. The horizon line is high in the composition, so the
viewer is looking down on to the cube.

Two-Point Perspective

Horizon Line

Two-point perspective.
Can you locate the horizon line?

Ed Ruscha
Standard Station,
1966

Raphael
The School of Athens
fresco,1509-1511

One-point perspective. Except for one object.
Can you spot the only item in two-point?

Implied Depth (continued)
Have you ever been driving
in Colorado and noticed
that the mountains in the
distance are a different
color than the mountain
you’re on?

This phenomenon is called
atmospheric perspective.
The air that separates you
and those distant objects acts
as a filter, visually diminishing
the color. This makes the object appear
lighter in color and less sharp in detail. In the
painting above, Asher Brown Durand’s Kindred
Spirits, notice how the artist has masterfully
captured this observable fact. The painting to the
right, Happy Accidents of the Swing by Jean-
Honore Fragonard, painted in the Rococo style
captures a couple in a playfully lush garden with
bright, vibrant color in the foreground and softer,
lighter hues in the background.

Asher Brown Durand
Kindred Spirits
oil on canvas
1849

Jean-Honoré Fragonard, The Happy Accidents of the Swing, 1767-68 (detail)

Vocabulary Click on the word to return to its original page.
Picture Plane – The actual space of each picture’s surface.

Picture Plane Denial – The illusion that the subject matter goes beyond the
confines of the picture plane. The opposite of this is Picture Plane Assertion,
which is the overt awareness that the image ends when the picture’s surface
ends.

Perspective – Refers to any means of representing three-dimensional objects
in space on a two-dimensional surface.

Vantage Point – The visual position in which a viewer is specifically placed in
relation to the subjects on a picture plane. Example: The viewer’s vantage point
can be altered by raising or lowering the horizon line.

Atmospheric Perspective – The illusion of depth is created by
changing color, value, and detail. Also called Aerial perspective.

The vanishing point is always on the horizon.
The horizon line is always eye level to the viewer.

A.

B.

C.

Egyptian Rules for Illustrating
the Human Figure
This object is the Palette of Narmer.

It’s an early Egyptian relic which perfectly demonstrates
established rules the artists of Egypt adhered to for
over three thousand years.

Those are:

A. The most important figure is always largest in
the composition. (This is called hierarchy of
scale, and we’ll discuss that later.)

B. Everything is turned in 90 degree increments.
The head is profiled, the torso is turned to face
the viewer, and the waist and legs are returned
to a profile.

C. The figure can only be portrayed three ways:
Facing forward
Profiled
Or from above (this was usually reserved for the
dishonorable – note the dead enemy soldiers with
their heads between their legs)

Back

Palette of King Narmer

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