1. UNIT #5 VALUE AND COLOR MS. TANGUAY FCHS VISUAL ART I

2. 5.2 LEARNING TARGETS I can perceive and explain how artists use value to suggest emotion and mood. I can understand how artists use shading or chiaroscuro to make a flat shape look 3-D.

3. 5.2 LIGHT AND DARK, VALUE An object is visible only to the extent that it light. Light and dark appear in the legends of most cultures. Symbolism LightDark TruthEvil HopeFear of the unknown New LifeDeath

4. the range of light and dark (seen under normal light conditions). The degree of lightness or darkness. Value Scales: chart the variations in value (usually a nine step scale) High Value Low Value

5. The lightness or darkness of a value is relative, meaning it is light or dark in comparison to its surroundings. For example, the banjo face in this image appears light when compared to the shadows around it. But compared to the light values in the background, it appears rather dark. The Banjo Lesson, 1893 by Henry O. Tanner

6. This painting was created less than three decades after the Civil War ended. What important messages about post- war African-American life does it convey? List all the objects you see in this piece. What do these objects tell us about the setting of this scene? Identify the lightest and darkest values in this picture. Where is the light source? What might the light source be? How did Tanner emphasize his figures? The Banjo Lesson, 1893 by Henry O. Tanner

7. The amount of reflected light can make the value of an object seem lighter or darker. What is the color of the cue ball: white or dark gray? You see the cue ball as being very light (white or off-white). If you cover the upper left half of the ball with your hand, you will see that the bottom right half is not very light at all. Reflected light causes the difference between the two halves, in this case the reflection is stronger on the upper left half.

8. Shading: variations in the darkness and lightness of a color made by adding black and white Tint: color + white Shade: color + black When an artist wants a form to look solid they take reflected light into consideration, making some surfaces darker than others. The technical term for shading is chiaroscuro, an Italian word that means “light-dark”

9. VALUE AND ARTISTIC EXPRESSION Shading is a very effective way for an artist to create a mood. The idea that light and dark often stand for good and evil stems from our culture and our own experiences. Artists often capitalize on these notions to express ideas or moods. However, light and dark do not always stand for good and evil.

10. Describe the physical characteristics of the two women. What does the artists’ use of lighting suggest about them? Describe the type of light in each piece. What might be the light source? Which piece has the stronger contrasts of light and dark? What mood does the lighting create in the scene? Which portrait is more colorful?

11. Picasso used mostly the middle range of the value scale in this piece. He kept the contrasts of light and dark to a minimum, giving it the feeling of being bathed in soft light. Do you think that it was meant to symbolize something positive about womanhood? Why? A Woman in White, 1923 by Pablo Picasso

12. In this piece the artist used mostly the dark end of the value scale, with very light values used in a few places. A single source of light illuminates one side of the woman, with the rest of the image in relative darkness. The idea of using strong contrast in value to create drama and establish mood was very popular in the 1600s. The darkness in this piece gives us the sense of somber relaxation, not an evil feeling. Young Woman Drawing, 1801 by Marie-Denise Villers

13. In this piece mostly the light range of the value scale is used. What do these light colors say about a city of the future? Do they suggest optimism or bleakness? What does this scene remind you of? What do the colors suggest about the city? If the sky were dark, how would this change the mood of the picture? Untitled (Futuristic City), 1976 by Alexander A. Maldonado

14. 5.3 COLOR Because of its effects on people, color has been studied more than any of the other elements. Over 300 years ago, Isaac Newton demonstrated that color is a property of light. Light is divided into seven colors, each representing a different ray of light. These seven rays are known as the spectrum. bands of colored light created when white light is passed through a prism. Only the rays of the spectrum can be seen by the human eye.

15. Newton’s Color WheelModern Color Wheel

16. Light is the real source of color. Reflected light is the kind of light given off by objects. When white light strikes a red apple, the apple looks red because it absorbs every color of light except red, which is reflected. When all light is absorbed, the result is black.

17. HUE Color has three properties: hue, value, and intensity. Hue: the property of color that distinguishes one gradation from another and gives it its name. Hue identifies a color as blue, yellow, red, etc. In addition to the hues of the spectrum, an infinite number of hues can be created through intermixing. There is a difference between colored light and colored pigment. Mixing colored lights is an additive process. When all colors are combined, the result is white. Mixing colored pigments is subractive. Pigments behave as the surfaces of other objects. They absorb the colored rays and except those we see. When all colored pigments are mixed together we get black.

19. Complementary colors: two colors directly opposite each other on the color wheel, in extreme contrast with each other. Play a part in both intensity and color harmonies.

20. ART HISTORY Molas: a form of tapestry art made by the Kuna peoples of the San Blas Islands (Central America) Kuna women traditionally use a reverse applique sewing technique to create their molas. They layer three or more cloth colors and then cut slits in the top layers. They carefully fold back the upper fabric to reveal lower layers of colored cloth.

21. VALUE Value is an aspect of all color. Each color has a normal value (as seen on the color wheel). Lighter values are created by adding white to the normal value and creating tints. Darker values are created by adding black to the normal value and creating shades. When paintings are created using tints and shades of just one color they are called monochromatic (one color). White, black, and gray (have no identifiable hues) are considered neutrals. Brown is sometimes considered a neutral.

22. INTENSITY Intensity: the degree of purity, saturation, or strength of a color. High intensity = bright Low intensity = dull Can be represented on a scale from bright to gray. By mixing a color with its complement, the result is a duller color. In the right proportions you will get a neutral gray.

23. COLOR INTERACTIONS Colors are affected by other colors. Hue Interaction: a patch of yellow-orange appears more orange on top of a square of yellow. On top of a square of orange, it appears more yellow. Value Interaction: a light-colored square appears darker on a light background than it does on a dark background. Intensity Interaction: a medium bright blue will appear brighter on top of a neutral than it does on top of a bright blue.

24. COLOR HARMONIES Color harmonies: combinations of colors that are considered satisfying, or that produce certain effects. (Color schemes) Triad consist of three equidistant hues on the color wheel (red, blue, yellow) Complementary provide the strongest contrast (blue and orange) Split complementary uses one hue and the hues on either side of its complement (blue, yellow-orange, red-orange) Analogous consist of adjacent hues on the color wheel with one color in common (yellow, yellow-green, green, blue-green). Monochromatic consist of tints and shades of a single hue.

25. EXPRESSIVE QUALITIES OF COLOR Red is said to raise blood pressure, while blue lowers it. Pink has been shown to have a calming effect on violent children. Warm colors can make it seem like there has been an increase in temperature. Warm colors: those hues in which yellow and red are dominant (red, orange, yellow, yellow-orange, red-orange) Cool colors: those hues in which blue is dominant (blue, green, violet, blue-green, blue-violet) Vincent van Gogh was one of the first artists to understand how color could be used for its own sake