1. PLEASE NOTE
Due to copyright reasons, the images in this power point have been removed, leaving only the text left over from the slide show.
Also please note, other terms and names may have been given verbally by the instructor and were never a part of this slide show. Students are ultimately responsible for taking notes seen in slides, mentioned verbally, images seen in slide shows and in videos.
The current 8th edition of Sayre’s A World of Art is the book used in this class for lecture, tests and quizzes. Students may definitely find an older edition of the text is sufficient for them, but please note that images may be numbered differently and appear in different chapters between editions and that older editions may not have 100% all the images the newest 8th edition has.
Thank you.

2. Chapter 5
Light and Color

3. Composition – the organization of formal elements in a work of art

4. Formal elements of art – the purely visual aspects of art and architecture. Line, space, levels of light and dark, color, and texture are among the elements that contribute to a work’s form.

5. James Turrell, Friends Meeting Place, Houston

8. James Turrell, Rice University Skyspace, Houston

15. Light Atmospheric Perspective Chiaroscuro Hatching & Cross-Hatching Value Color Basic Color Theory Color Schemes Color in Representational Art Symbolic Use of Color

16. Atmospheric Perspective In a drawing or painting, a technique designed to suggest 3-dimensional space in the 2- dimensional space of the picture plane, and in which forms and objects distant from the viewer (in the background) become less distinct… and the contrast among various distant elements is greatly reduced. Also referred to as Aerial Perspective.

17. Contrast: Balance between light and dark values.

18. Low contrast

19. Higher contrast

20. Chiaroscuro In drawing & painting, the balance of light and dark to create the effect of 3-dimensional, typically for modeled surfaces Modeling In drawing, the rendering of a form, usually by means of hatching or chiaroscuro, to create the illusion of 3-dimensional form. Rendering light across a curved surface.

21. Chiaroscuro and Contrast are a little alike… but… Chiaroscuro is a term used for drawing and painting. The term Contrast, however, is not medium specific.

23. Tenebrism A heightened form of chiaroscuro, in a painting that has extreme contrast in black and light hues, most often black with some other bright highlight Tenebrism is associated with the medium of painting.

24. Medium – any material used to create a work of art.

25. Color Hue Value Tint Shade

26. Hue: What we call color.

27. Value The relative value of lightness or darkness of an area, object, color.

28. Gray scale

29. From left to right… Value is becoming lower, lighter

30. From left to right… in the direction of tints

31. Saturation (Intensity) The relative brightness or dullness of an area or a color.

32. Tint A color or hue modified by the addition of another color resulting in a hue of higher or lower value. For instance, adding white to red results in pink. Shade The resulting color from the addition of black to a color.

33. Color: is a function of light

34. Color Spectrum Color Wheel Primary Secondary Intermediate Complementary Analogous

35. Colors separated by a prism C6

37. Saturation (Intensity) Is a function of the relative brightness or dullness of color. One lowers the intensity by adding either grey or the complimentary color.

38. Low saturation High saturation

39. Low color saturation

40. Complementary Color – colors that oppose each other on the color wheel Analogous color – colors that neighbor each other on the color wheel

41. Complementary Colors – these colors when used in significant quantities next to each other tend to make each other look more saturated (intense).

42. Simultaneous Contrast experiment

45. Simultaneous contrast The physiological perception of complementary colors; complementary colors appear to make each look more saturated/intense when they are used in conjunction with one another.

46. Afterimage The sensation of looking at large area of color, then turning away from it and perceiving it’s complimentary color.

47. Analogous Color

48. Complementary Color – colors that oppose each other on the color wheel Analogous color – colors that neighbor each other on the color wheel

49. Complementary Color

53. Afterimage The sensation of looking at large area of color, then turning away from it and perceiving it’s complimentary color.

54. Color mixing

55. Color mixtures of reflected pigment—subtractive process
Color mixtures of refracted light—additive process C6

56. Color Intensity (saturation) Analogous color Color temperature Polychromatic Closed palette / Open palette Simultaneous Contrast Afterimage

57. Color temperature

58. Polychromatic – to use colors from all over the color wheel
Polychromatic – to use colors from all over the color wheel. Open Palette also means polychromatic. Closed Palette means to use few colors.

59. Monochromatic – a color composition limited to a single hue

60. Monochromatic – a color composition limited to a single hue

61. Color in Representational Art Local color Perceptual color Arbitrary color Optical Color Pointillism

62. Ways of using Color in Representational Art Local color Perceptual color Arbitrary color

63. Local Color The color of objects viewed close-up in even lighting conditions. And, resulting in a use of color that faithfully represents how the color looks in real life, under good lighting conditions.

64. Perceptual Color Color as perceived by the eye. It is not local
Perceptual Color Color as perceived by the eye. It is not local. For example, color that is impeded by atmospheric effects, or poor lighting conditions.

65. Arbitrary color Usually for purposes of having an emotional effect, when color is not used in a local manner… to not use color as you would expect to see it in real life under good lighting conditions.

66. Optical Color
Optical color is when you create paint colors not by mixing them on the palette (or physically), but through knowledge of color theory and how the eye perceives color.

67. Pointillism A 19th century art movement that utilizes separate strokes of pure color next to each other on the canvas, the artist does not physically mix the color together. It is one optical color approach that believes the physical visual process of eyesight will mix the colors together for us.