1. AND VOLUME LIGHT AND VOLUME

2. LIGHT AS AN ELEMENT OF EXPRESSION

3. Light enables us to distinguish objects, their shape and position in space. LIGHT AS AN ELEMENT OF EXPRESSION

4. Light enables us to distinguish objects, their shape and position in space. Both light and shadows will be very valuable as an element of expression, as that will allow to create environments, spaces and special effects. LIGHT AS AN ELEMENT OF EXPRESSION

5. TYPES OF LIGHT

6. Natural Light. Sun, moon. TYPES OF LIGHT

7. Natural Light. Sun, moon. –Light fleeting so requires great visual retentive attention and speed of execution to represent it. TYPES OF LIGHT

8. Natural Light. Sun, moon. –Light fleeting so requires great visual retentive attention and speed of execution to represent it. This process of capturing light, was very represented during the Impressionism by artists such as Monet. TYPES OF LIGHT

9. Natural Light. Sun, moon. –Light fleeting so requires great visual retentive attention and speed of execution to represent it. This process of capturing light, was very represented during the Impressionism by artists such as Monet. TYPES OF LIGHT

10. Natural Light. Sun, moon. –Light fleeting so requires great visual retentive attention and speed of execution to represent it. This process of capturing light, was very represented during the Impressionism by artists such as Monet. TYPES OF LIGHT

11. Artificial light; comes from various energy sources.

12. –They are always weaker and smaller than sunlight but we allow their manipulation.

13. LIGHT; TONAL VALUES

14. In both painting and photography we can choose the level of brightness. LIGHT; TONAL VALUES

15. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. LIGHT; TONAL VALUES

16. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. – High tonal value; LIGHT; TONAL VALUES

17. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. – High tonal value; –Prevalence of clear and white values ​​. LIGHT; TONAL VALUES

18. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. – High tonal value; –Prevalence of clear and white values ​​. –Delicacy and softness effect. LIGHT; TONAL VALUES

19. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. LIGHT; TONAL VALUES – High tonal value; –Prevalence of clear and white values ​​. –Delicacy and softness effect.

20. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. LIGHT; TONAL VALUES – Contrasted tonal value;

21. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. LIGHT; TONAL VALUES – Contrasted tonal value; –Deep dark and light values appear very marked. ​

22. In both painting and photography we can choose the level of brightness. The level of brightness, contrast or darkness is called: tonal value. LIGHT; TONAL VALUES – Contrasted tonal value; –Deep dark and light values appear very marked. –Strong and alive. sensations.

24. – Low tonal value;

25. Low tonal value; –Dimly lit images, night light, weak artificial light.

26. Low tonal value; –Dimly lit images, night light, weak artificial light. –Prevalence of dark and black values ​​.

27. Low tonal value; –Dimly lit images, night light, weak artificial light. –Prevalence of dark and black values ​​. –Mystery, fear or sadness sensations

28. Low tonal value; –Dimly lit images, night light, weak artificial light. –Prevalence of dark and black values ​​. –Mystery, fear or sadness sensations

29. Low tonal value; –Dimly lit images, night light, weak artificial light. –Prevalence of dark and black values ​​. –Mystery, fear or sadness sensations

31. –Contrasted tonal value;

32. –Illuminated scenes by strong and direct light, full sun landscapes, figures under bright and close artificial light...

33. –Contrasted tonal value; –Illuminated scenes by strong and direct light, full sun landscapes, figures under bright and close artificial light... –Deep dark and light values appear very marked.

34. –Contrasted tonal value; –Illuminated scenes by strong and direct light, full sun landscapes, figures under bright and close artificial light... –Deep dark and light values appear very marked. –Strong and alive sensations.

35. –Contrasted tonal value; –Illuminated scenes by strong and direct light, full sun landscapes, figures under bright and close artificial light... –Deep dark and light values appear very marked. –Strong and alive sensations.

36. –Contrasted tonal value; –Illuminated scenes by strong and direct light, full sun landscapes, figures under bright and close artificial light... –Deep dark and light values appear very marked. –Strong and alive sensations.

37. –Contrasted tonal value; –Illuminated scenes by strong and direct light, full sun landscapes, figures under bright and close artificial light... –Deep dark and light values appear very marked. –Strong and alive sensations.

38. QUALITIES OF THE LIGHT

39. The appearance of objects is going to be modified as well as by the type of light for other qualities. QUALITIES OF THE LIGHT

40. The appearance of objects is going to be modified as well as by the type of light for other qualities. 1.Light direction. QUALITIES OF THE LIGHT

41. The appearance of objects is going to be modified as well as by the type of light for other qualities. 1.Light direction. 2.Quality and intensity. QUALITIES OF THE LIGHT

42. The appearance of objects is going to be modified as well as by the type of light for other qualities. 1.Light direction. 2.Quality and intensity. The combination of these values ​​ allows to accentuate or soften the perception of the texture. QUALITIES OF THE LIGHT

43. Light direction.

44. –It refers to the position of the light source relative to the object.

45. Light direction. –It refers to the position of the light source relative to the object. –They produce different feelings: emotion, drama, mystery, joy,...

46. Light direction. –It refers to the position of the light source relative to the object. –They produce different feelings: emotion, drama, mystery, joy,... –Frontal light: In front of the motif Smooth shapes and produces a visual effect of lightness.

47. Light direction. –It refers to the position of the light source relative to the object. –They produce different feelings: emotion, drama, mystery, joy,... –Lateral light: - On one side of the motif. - They can create modeled mild to strong contrasts. -Emphasizes a greater prominence of shapes and textures.

48. Light direction. –It refers to the position of the light source relative to the object. –They produce different feelings: emotion, drama, mystery, joy,... –Overhead light: ·From above and perpendicular to the object (sunlight noon). ·The shadow areas is of the object lower??? Are in the lower part of the object??? ·Visual flattening sensation.

49. Light direction. –It refers to the position of the light source relative to the object. –They produce different feelings: emotion, drama, mystery, joy,... –Backlight: - Behind the object. - Cut the profile shapes and may void the texture object. - They can create a sense of mystery.

50. Quality and intensity of the light.

51. –The hardness or softness of the shadows are indicators of the quality and intensity of the light.

52. Quality and intensity of the light. Hard light : –It comes from an intense focus of artificial or natural light. –The hardness or softness of the shadows are indicators of the quality and intensity of the light.

53. Hard light : –It comes from an intense focus of artificial or natural light. –As more intense, more intense seems the lights, and darker and cropped the shades. the lights seem more intense and the shades darker and more cropped. –The hardness or softness of the shadows are indicators of the quality and intensity of the light. Quality and intensity of the light.

54. Hard light : –It comes from an intense focus of artificial or natural light. –As more intense, more intense seems the lights, and darker and cropped the shades. the lights seem more intense and the shades darker and more cropped. –Contrast effects are very defined. –The hardness or softness of the shadows are indicators of the quality and intensity of the light. Quality and intensity of the light.

55. –The hardness or softness of the shadows are indicators of the quality and intensity of the light. Hard light : –It comes from an intense focus of artificial or natural light. –As more intense, more intense seems the lights, and darker and cropped the shades. –Contrast effects are very defined.

56. Quality and intensity of the light. –The hardness or softness of the shadows are indicators of the quality and intensity of the light. Hard light : –It comes from an intense focus of artificial or natural light. –As more intense, more intense seems the lights, and darker and cropped the shades. –Contrast effects are very defined.

58. Soft light;

59. –It comes from an extensive light source (sun on cloudy days or artificial light after a translucent surface.)

60. Soft light; –It comes from a extensive light source (sun on cloudy days or artificial light after a translucent surface.) –Generates soft shadows and blurred contours.

61. Soft light; –It comes from a extensive light source (sun on cloudy days or artificial light after a translucent surface.) –Generates soft shadows and blurred contours. –Decreases the sensation of volume when the contrasts are attenuated.

62. Soft light; –It comes from a extensive light source (sun on cloudy days or artificial light after a translucent surface.) –Generates soft shadows and blurred contours. –Decreases the sensation of volume when the contrasts are attenuated.

63. Soft light; –It comes from a extensive light source (sun on cloudy days or artificial light after a translucent surface.) –Generates soft shadows and blurred contours. –Decreases the sensation of volume when the contrasts are attenuated.

64. –grisaille; The tonal values are worked from white to black. It consists of shading with charcoal or pencil conté the dark tones on colored paper and applying the lights with white chalk or white tempera paints.

65. LIGHT AS A CONSTRUCTIVE ELEMENT

66. Since half of the twentieth century, artists who work with light have emerged, and with light itself, in their artwork????. LIGHT AS A CONSTRUCTIVE ELEMENT

67. Since half of the twentieth century, artists who work with light have emerged, and with light itself, in their artwork. As in all artistic activity it´s going to search to move the viewer, generating very different feelings in him to the contemplating of the works or even to join them.???? LIGHT AS A CONSTRUCTIVE ELEMENT

74. Currently, works that combine light (flashlights, lighters, xenon lights, LED color,..) and photography are being created.

77. http://www.youtube.com/watch?v=lW_9SYaWAQg&feature=player_embedded http://www.youtube.com/watch?v=nC17QW_HQZ4&feature=related