Elements of Art & Principles of Design Movie

00:58:24
https://www.youtube.com/watch?v=-R18bjGoU2k

Zusammenfassung

TLDRCette vidéo éducationnelle traite des éléments et principes de design essentiel à toute création artistique. Les éléments de l'art — ligne, forme, couleur, texture, valeur, et espace — sont présentés comme les matériaux de base dont disposent les artistes pour exprimer leur vision. Chaque élément est exploré individuellement, illustrant comment les artistes de diverses disciplines utilisent ces éléments pour apporter structure et détail à leurs œuvres. De plus, des projets sont démontrés pour aider à comprendre comment manipuler ces éléments dans votre propre travail artistique. Les principes de design, qui incluent l'équilibre, le mouvement, le rythme, le contraste, l'accentuation, le motif et l'unité, sont ensuite explorés. Ces principes servent à organiser les éléments de l'art de manière harmonieuse et efficace, permettant ainsi une meilleure composition globale. Les exemples incluent des œuvres célèbres et des techniques telles que la perspective linéaire et atmosphérique pour créer une illusion de profondeur. Pourquoi se contenter de créations ordinaires ? En maîtrisant ces éléments et principes, les artistes peuvent non seulement mieux exprimer leur créativité, mais aussi toucher leur public de manière plus profonde et significative.

Mitbringsel

  • 🎨 Les éléments de design sont le vocabulaire visuel de l'artiste.
  • 🖌️ La ligne peut être utilisée pour exprimer la simplicité ou la complexité.
  • 🔺 Les formes peuvent être organiques (naturelles) ou géométriques (structurées).
  • 🌈 La couleur provient de la lumière blanche et crée une ambiance dans l'art.
  • 💎 La valeur indique l'échelle du clair au foncé dans une œuvre.
  • 📏 L'espace est créé par la disposition et la perspective d'un objet.
  • 🧶 La texture peut être réelle ou simulée dans l'art.
  • ⚖️ L'équilibre symétrique et asymétrique affecte la composition visuelle.
  • ➡️ Le mouvement guide l'œil du spectateur vers le point focal.
  • 🌐 L'unité se crée lorsque tous les éléments de l'art se combinent harmonieusement.

Zeitleiste

  • 00:00:00 - 00:05:00

    Les éléments du design, ou de l'art, sont le vocabulaire visuel de l'artiste, utilisés par tous les artistes tels que photographes, designers, peintres et sculpteurs. Il y a sept éléments: ligne, forme, couleur, valeur, texture et espace. La ligne peut être épaisse ou mince, organique ou mécanique, et utilisée de plusieurs manières dans l'art. Mark Tobey a utilisé des motifs de lignes pour créer une sensation d'unité dans ses peintures.

  • 00:05:00 - 00:10:00

    Lignes peuvent être créées avec différents outils, de manière droite ou courbe, et peuvent contribuer à la texture et à la valeur dans l'art. Mark Tobey illustre cela bien avec divers types de lignes dans ses œuvres. Les lignes peuvent être créées avec des outils variés, tels que des stylos, des crayons, des marqueurs, et même des bâtons, offrant une grande variété de formes et de textures.

  • 00:10:00 - 00:15:00

    Après avoir examiné l'utilisation des lignes, la discussion aborde deux types de formes principales : organique, vue dans la nature, et géométrique, vue dans des constructions humaines. L'arrangement de ces formes peut créer des œuvres d'art non objectives, comme vu dans l'exemple de Matisse, où une forme organique devient le point focal parmi des formes géométriques.

  • 00:15:00 - 00:20:00

    Le projet suivant implique de créer des formes organiques à partir de papier teint, et de les agencer pour créer des compositions artistiques. Les formes superposées créent de nouvelles formes le long des zones de chevauchement, démontrant ainsi le pouvoir de la forme comme élément de design, sans utiliser de lignes mais purement des formes superposées.

  • 00:20:00 - 00:25:00

    L'accent passe à la forme, avec une attention particulière sur sa nature tridimensionnelle, comme illustré par des sculptures. La forme diffère de la forme bidimensionnelle, alors que les projets transforment des dessins en formes tridimensionnelles en utilisant de l'argile pour créer des animaux ou d'autres objets.

  • 00:25:00 - 00:30:00

    La couleur est discutée comme un élément essentiel de l'art, dérivant de la lumière blanche décomposée en différentes teintes. Une peinture de Renoir sert d'exemple pour montrer comment les couleurs changent sous différentes lumières colorées. Le mélange des couleurs primaires, rouge, jaune et bleu, crée une variété infinie de nouvelles teintes.

  • 00:30:00 - 00:35:00

    À travers l'application de couleurs de manière neutre, en tenant compte du cercle chromatique, les artistes peuvent créer des œuvres aux couleurs plus douces. En utilisant des couleurs complémentaires, une couleur peut être neutralisée, ajoutant de la profondeur et diminuant l'intensité, ce qui est démontré à travers divers exemples de mélanges de couleurs.

  • 00:35:00 - 00:40:00

    L'étude de la valeur aide à comprendre le contraste entre clair et foncé dans l'art, essentiel pour créer de la profondeur et du contraste dans les œuvres d'art, comme illustré dans des exercices de peinture utilisant des nuances de gris. Des exemples d'artistes célèbres montrent comment ces valeurs influencent la composition globale de leurs œuvres.

  • 00:40:00 - 00:45:00

    La texture enrichit les œuvres en jouant sur les sens tactiles ; elle peut être réelle, comme dans la céramique, ou simulée, comme dans la photographie. Dans la peinture, la texture peut être ajoutée de manière substantielle avec de la peinture acrylique, ou simulée avec des aquarelles, offrant à l'artiste des outils variés pour enrichir leurs créations.

  • 00:45:00 - 00:50:00

    L'espace et la perspective sont utilisés pour donner de la profondeur et un sens du placement dans une œuvre. Cela peut être accompli par le chevauchement et les points de fuite, comme illustré dans des exemples de l'artiste Robert Henry. La perspective atmosphérique ajoute également de la dimension à une peinture en modifiant l'intensité des couleurs dans des couches successives.

  • 00:50:00 - 00:58:24

    Les principes de design organisent les éléments d'art de manière efficace, comprenant l'équilibre, le mouvement, le rythme, le contraste, l'accentuation, le motif et l'unité. Ces principes, souvent utilisés ensemble, aident à rendre l'art plus structuré et harmonieux. L'équilibre visuel est démontré à travers des exemples de symétrie et d'asymétrie dans l'art et la sculpture.

Mehr anzeigen

Mind Map

Mind Map

Häufig gestellte Fragen

  • Quels sont les sept éléments de l'art ?

    Les sept éléments de l'art sont la ligne, la forme, l'espace, la couleur, la texture, la valeur et le volume.

  • Comment les artistes utilisent-ils la texture ?

    Les artistes utilisent la texture soit de manière réelle (texture palpable) soit de manière simulée (illusion de texture).

  • Comment comprendre la valeur dans l'art ?

    La valeur fait référence aux contrastes de clarté et d'obscurité qui créent la profondeur et l'intérêt visuel dans une œuvre.

  • Qu'est-ce que la perspective atmosphérique ?

    La perspective atmosphérique est une technique pour créer de la profondeur en utilisant des tonalités de couleur plus claires à l'arrière-plan.

  • Quels principes de design aident à organiser un tableau ?

    Les principes sont l'équilibre, le mouvement, le rythme, le contraste, l'accentuation, le motif, et l'unité.

  • Comment le mouvement est-il utilisé dans une peinture ?

    Le mouvement guide l'œil vers le point focal à travers des lignes ou des formes dirigées.

  • Qu'est-ce que l'équilibre asymétrique dans l'art ?

    L'équilibre asymétrique est atteint lorsque des objets de tailles ou formes différentes équilibrent un design visuellement.

  • Comment les couleurs primaires peuvent-elles être utilisées ?

    Les couleurs primaires (rouge, jaune, bleu) peuvent être mélangées pour créer toutes les autres couleurs.

  • Quelle est l'importance du contraste dans l'art ?

    Le contraste apporte de l'excitation et de l'intérêt visuel en opposant des éléments comme la couleur, la texture et la lumière.

  • Qu'est-ce qu'un motif régulier dans le design ?

    Un motif régulier répète les mêmes éléments à des intervalles constants, comme on le voit dans les motifs géométriques.

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  • 00:00:20
    [Music]
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    the elements of design or the elements
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    of art as some people call them are
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    really the visual vocabulary of the
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    artist they're the things the artist has
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    to work with all artists work with them
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    photographers designers painters
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    sculptors ceramists everybody some
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    people call these the sensory properties
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    because we can sense them with our eyes
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    and our hands there are seven of these
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    elements and they are
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    line
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    shape
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    form
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    color
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    value
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    texture and
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    space we will learn what these are by
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    working with several projects and how
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    artists can use them in their work or
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    how you can use them in your own
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    [Music]
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    work line is one of the basic elements
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    of art and a line can be made with any
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    kind of a
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    tool can made thick or thin organic or
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    plain these are contour lines being made
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    of my own
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    hand lines can be used singly as they're
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    used here or as we have them in a
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    Sketchbook lines that are just outlines
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    really of the tree we can also Mass
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    lines together as in another sketch
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    where lines actually make value some
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    artists Mark Toby for example in his
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    painting has used all kinds of lines and
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    done an overall pattern that gives us a
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    feeling of unity over the whole surface
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    all being done with line of different
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    kinds
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    lines can be made with any kind of tool
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    you see a bunch of them here we can make
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    lines with a pen see we can make
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    straight lines or curved
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    lines we can make lines with a
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    pencil they're kind of it could be a
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    little organic see I can make lines that
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    are fatter lines that are
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    thinner we can make lines with a marker
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    colored markers or straight
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    markers looks like a graph line we can
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    make a line with pastel which is very
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    soft and edges are very soft so they can
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    be very
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    erratic we can make lines with a with a
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    brush you can dip a brush into ink make
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    lines with a brush look fat thin it's
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    very organic rather than mechanical we
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    can even make lines with a stick we can
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    take a stick and dip it in ink and make
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    a line that is also very organic see it
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    can go fat and thin we make very
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    beautiful organic lines on a piece of
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    paper
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    we referred before to Mark Toby's
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    painting that's all done with lines this
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    is a little schematic diagram that shows
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    kind of the lines that Mark Toby used
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    some curled some fat some Thin some
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    straight we're going to make a project
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    now that will use those kind of lines
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    and make sort of a mark Toby like
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    painting we can start using temperate
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    colors and just start to make lines on a
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    piece of paper some
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    straight some
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    curved some thinner some
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    fatter we keep on working with these
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    pages and filling this whole page with
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    these
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    lines I can add a mat to this we're able
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    to see almost a mark Toby like painting
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    almost exactly the way his began to feel
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    we can do this with a marker and we can
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    make the lines all continuous or we can
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    use fatter markers like this and we can
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    make different kinds of of marks on
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    there to fill that up those can be very
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    attractive non-objective paintings made
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    completely with different kinds of
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    [Music]
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    line I'm cutting out a shape this is
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    actually an organic shape there are two
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    two basic kind of shapes one is an
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    organic shape which is kind of like we
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    find in nature and one is a geometric
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    shape which is usually found in things
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    that people construct like buildings and
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    things like that but these are here this
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    is a this is a geometric shape this is
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    an organic shape those are really the
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    two basic kind of shapes that we have to
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    work
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    with just arranging a bunch of geometric
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    shapes on a on a large geometric
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    background actually one large rectangle
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    inside of the white rectangle that is
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    the
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    paper and I'm just going to arrange
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    those and sort of like matis did with
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    his look at this work of
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    matis these are geometric shapes on here
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    and these are organic shapes he used a
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    lot more organic shapes than geometric
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    see the big geometric shape with an
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    organic shape over the top of it so you
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    cut out a lot of shapes if I take one
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    organic piece and put it in with all
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    these geometric pieces it becomes a
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    focal area and everything will kind of
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    uh will kind of focus on that so I can
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    arrange these geometric pieces around
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    the outside of that and just put a mat
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    over the top of that and we've got a
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    very nice little non-objective painting
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    that's made up of all these abstract
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    shapes that are all geometric except one
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    organic shape which then becomes the
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    focal
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    area in order to start this next project
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    with shape we're going to stain paper
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    first of all if we just take pieces of
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    of uh tissue paper put them on some flat
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    surface of glass or or uh formic a
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    surface and then just stain them with
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    watercolor just use nice bright colors
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    and uh and stain them you can here we're
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    using red and orange together get them
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    nice and full of color and then put them
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    on a on a piece of paper towel to
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    dry when these papers are dry we can
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    begin to cut out of those nice colored
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    tissue papers beautiful organic shapes
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    we're going to make flowers here see
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    we're going to make an arrangement of
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    flowers we can to mount those in in and
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    we'll glue them down on a piece of white
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    paper so that the colors show through
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    beautifully we might have to cut some
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    more flowers to to put on here but
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    you're making all these wonderful
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    organic shapes now and uh and putting
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    them together to make this
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    composition we've mixed a little bit of
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    white glue with water to thin it out
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    just a little bit so it's not quite so
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    thick and we're going to glue these
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    pieces of of cut tissue paper down with
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    that with this white glue now look I put
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    this paper down or the glue down on the
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    paper like this put the the uh piece of
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    of tissue paper over the top then put a
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    little bit of glue on like this to seal
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    it down very bright colors show up but
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    see where we where one shape overlaps
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    another shape we make a third shape in
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    between
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    [Music]
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    there you'll see how dramatic that will
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    be if we put that on a on a piece of
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    black
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    paper this is a positive shape with a
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    flowers this is a negative shape in the
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    background back there if we put a mat
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    around all of
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    that we have a pretty effective a pretty
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    effective piece of artwork all done with
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    just shape there's no line anything all
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    done with just shape overlapping shapes
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    but full of shapes so shape is really
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    another basic element that artists have
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    to work
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    [Music]
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    with
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    my hands are are
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    really surrounding this form I'm working
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    with the with form form is one of the
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    elements that sculptures have to work
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    with a lot so form is really
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    three-dimensional I can feel organic
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    forms like this which are formed in
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    nature really this is an organic
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    form I can feel forms in pods like this
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    I can feel them with my fingers with my
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    whole hands those are really organic
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    forms I can have also geometric forms
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    like a ball like this is really a
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    geometric form it's perfect sphere so
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    it's a three-dimensional
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    form I could feel a can like this this
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    is a cylinder this is a geometric
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    form we don't want to talk about those
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    as shape because shape is really
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    two-dimensional form is
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    three-dimensional for this project we're
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    going to start by drawing first of all a
  • 00:09:26
    two-dimensional animal this is kind of a
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    like a bear sort of uh you can make any
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    make animals up sort of a half animal
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    and half some creature that you've never
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    seen before but make some
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    two-dimensional shape first of all we're
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    going to take this shape then and make a
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    form out of that by using clay here this
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    is a this is nice red clay a ceramic
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    clay and we can begin to form that
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    artists who work with form use their
  • 00:09:52
    hands a lot so they can feel the form of
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    what it is they're working with now
  • 00:09:56
    we're actually making this
  • 00:09:58
    two-dimensional shape that we had we're
  • 00:10:00
    making that into a three-dimensional
  • 00:10:03
    form now this has got an organic form to
  • 00:10:05
    it see it's an animall likee form and
  • 00:10:08
    it's organic sort of like the rock or
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    look at this sculpture here this was
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    done and this has all been fired already
  • 00:10:13
    this is an armadillo but see the form
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    the way that changes every time I move
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    that around you know it gets a different
  • 00:10:20
    look to it the form of it is different
  • 00:10:23
    but it's a nice rounded
  • 00:10:24
    three-dimensional organic
  • 00:10:27
    form and the Bear as long as the bear we
  • 00:10:29
    keep working on the bear we can put we
  • 00:10:32
    can you know put hair on the side of the
  • 00:10:34
    bear we can make the legs long we put a
  • 00:10:36
    little tail on the back in by pinching
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    it a little bit and change and we can
  • 00:10:40
    put that in the kill and fire that and
  • 00:10:42
    we'll have a nice three-dimensional
  • 00:10:44
    animal
  • 00:10:46
    form clay isn't necessarily the only
  • 00:10:49
    thing that we can use for
  • 00:10:50
    three-dimensional work we can put wood
  • 00:10:51
    things together we can make an animal
  • 00:10:53
    out of chunks of wood we could use wire
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    you can use papier-mâché and you can
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    make a mask out of papier-mâché and use
  • 00:11:00
    that as a three-dimensional
  • 00:11:02
    [Music]
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    form color is the element of art that
  • 00:11:12
    most people are familiar with and color
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    comes from White Light if we shine a
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    white light through a prism of glass it
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    will break down into six separate colors
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    violet blue green yellow orange and red
  • 00:11:26
    if we want to see those colors in their
  • 00:11:28
    truest form we have to look at them
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    under white light this is renois
  • 00:11:32
    painting of fruit in a in a on a nice
  • 00:11:34
    blue dish we see we have beautiful warm
  • 00:11:36
    colors these red colors and the neutral
  • 00:11:39
    background and the and the nice whites
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    over here with some very nice darks in
  • 00:11:42
    here and we we will watch these colors
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    because these colors are going to change
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    we'll show you how it looks under
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    colored
  • 00:11:49
    light this is under a red light now if
  • 00:11:52
    with white light we can see all these
  • 00:11:53
    things just the way Ren painted them but
  • 00:11:55
    now look at the way these colors Chang
  • 00:11:57
    look way the white looks the way the
  • 00:11:58
    background look how it changed
  • 00:11:59
    dramatically in the background and the
  • 00:12:01
    red fruit themselves how they all change
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    in a colored
  • 00:12:04
    light now we'll change the color to a
  • 00:12:06
    blue and there's blue light now look all
  • 00:12:09
    the Reds get a little bit purpler and
  • 00:12:11
    all the background the background all of
  • 00:12:12
    a sudden because it's cool gets to be
  • 00:12:14
    brighter when when the blue light is on
  • 00:12:16
    it the white changes to a pale blue all
  • 00:12:18
    the colors change because the color of
  • 00:12:20
    the light changes when we want to look
  • 00:12:22
    at a painting to see the true color of
  • 00:12:24
    it we want to look at it under white
  • 00:12:27
    light
  • 00:12:30
    one of the interesting things we can do
  • 00:12:32
    with color is to mix them but one thing
  • 00:12:34
    you can do to find out of how Color
  • 00:12:35
    Works a little bit watch I'm going to
  • 00:12:37
    mix three primary colors the three most
  • 00:12:39
    important colors together that's red
  • 00:12:42
    yellow and blue so if we take a little
  • 00:12:44
    bit of red or a little bit of red and a
  • 00:12:46
    little bit of
  • 00:12:48
    yellow and a little bit of blue we clean
  • 00:12:50
    the brush each time that we that we do
  • 00:12:52
    that a little bit of blue and then we
  • 00:12:54
    begin to pull those colors together we
  • 00:12:57
    pull a little bit of red in that and we
  • 00:12:59
    begin to get a gray color by mixing
  • 00:13:01
    those three colors together we should be
  • 00:13:03
    able to make a nice neutral
  • 00:13:07
    gray in order to mix colors we have to F
  • 00:13:10
    we have to know what the the the main
  • 00:13:12
    colors are that we can work with the
  • 00:13:14
    three primary colors are red yellow and
  • 00:13:16
    blue if we begin to make a a diagram of
  • 00:13:20
    colors on a like a color wheel we have
  • 00:13:22
    to start out with the three primary
  • 00:13:23
    colors so on here I'm going to put the
  • 00:13:25
    three primary colors down that's red
  • 00:13:33
    and
  • 00:13:36
    yellow now there's 12 spaces on this
  • 00:13:39
    color wheel so we
  • 00:13:41
    can arrange this any way that you uh
  • 00:13:43
    that you want really red yellow and blue
  • 00:13:45
    and we're taking them right out of the
  • 00:13:47
    out of the watercolor
  • 00:13:49
    tray now if we wanted to get the colors
  • 00:13:52
    that are go in between those we'd have
  • 00:13:54
    to mix these primary colors together in
  • 00:13:56
    actuality all colors that we see almost
  • 00:13:59
    can be mixed with these three primary
  • 00:14:00
    colors those are the three primaries if
  • 00:14:03
    we mix red and yellow together we'll get
  • 00:14:06
    orange here's a little bit of red a
  • 00:14:09
    little bit of
  • 00:14:12
    yellow if we want to make intermediate
  • 00:14:15
    colors there are three secondary colors
  • 00:14:17
    also orange green and
  • 00:14:21
    violet those are the six main colors if
  • 00:14:24
    we fill those in if we want to mix the
  • 00:14:25
    color in between here that's called an
  • 00:14:27
    intermediate color by mixing yellow and
  • 00:14:29
    orange together here we have a little
  • 00:14:31
    bit of orange we mix a little bit more
  • 00:14:33
    yellow with it and we'll get a yellow
  • 00:14:35
    orange and we put that can put that in
  • 00:14:37
    the color wheel
  • 00:14:39
    here if we do that all the way around
  • 00:14:41
    the color all the way around this uh the
  • 00:14:43
    diagram we'll end up with what we call a
  • 00:14:46
    color
  • 00:14:48
    wheel when the color wheel is finished
  • 00:14:50
    it makes a beautiful succession of
  • 00:14:52
    colors all the way around the color
  • 00:14:54
    wheel with primary secondary and
  • 00:14:56
    intermediate colors the three primaries
  • 00:14:58
    again are yellow red and blue when we're
  • 00:15:01
    working with these colors now we're
  • 00:15:03
    going to find that in order to gray a
  • 00:15:04
    color we have to work with colors that
  • 00:15:06
    are across from each other on the color
  • 00:15:08
    wheel those are called complimentary
  • 00:15:10
    colors the complimentary color of yellow
  • 00:15:12
    orange is blue violet the complimentary
  • 00:15:16
    color of orange is blue exact opposites
  • 00:15:19
    on the color wheel so in order to
  • 00:15:21
    understand about neutralizing color we
  • 00:15:23
    have to understand how the color wheel
  • 00:15:25
    is set up this project involves neutral
  • 00:15:28
    ing colors to make them neutral to keep
  • 00:15:31
    them from being so bright as Ren wad did
  • 00:15:33
    in his painting if we have a red like
  • 00:15:35
    this color and we put a little bit of
  • 00:15:37
    green with it we can neutralize it and
  • 00:15:39
    it will turn a little bit duller if we
  • 00:15:42
    start with green and put a little bit of
  • 00:15:43
    red with it it will become a little bit
  • 00:15:45
    duller so by mixing a compliment we are
  • 00:15:48
    dulling the colors if we mix two of them
  • 00:15:50
    together we can get this nice gray like
  • 00:15:52
    this if we start with orange and we're
  • 00:15:55
    beginning to to uh to have the orange
  • 00:15:57
    color over here and we're we're going to
  • 00:15:58
    put a little bit of blue with it just a
  • 00:16:00
    little not a whole lot just a little bit
  • 00:16:02
    so we just neutralize it see what that
  • 00:16:04
    does that makes that color not quite so
  • 00:16:06
    bright anymore the Orange is not so
  • 00:16:09
    intense and when we talk about colors
  • 00:16:11
    being intense we're talking about their
  • 00:16:13
    Pure Color when we dull them a little
  • 00:16:15
    bit or neutralize them then they are not
  • 00:16:17
    so longer
  • 00:16:18
    intense see there's an there's an orange
  • 00:16:21
    that's got a little bit of blue mixed
  • 00:16:22
    with it if we start with the blue let's
  • 00:16:24
    clean the the tray off over here if we
  • 00:16:27
    start with the blue
  • 00:16:30
    clean the brush out then mix a little
  • 00:16:32
    bit of orange with it it will do the
  • 00:16:34
    same thing see it changes that color so
  • 00:16:37
    it's no longer such a bright blue see
  • 00:16:40
    then that that blue we'll put a little
  • 00:16:42
    bit more blue in with that that blue
  • 00:16:44
    turns duller it's not quite so bright
  • 00:16:47
    anymore and it's been neutralized so
  • 00:16:50
    it's not any longer a bright blue color
  • 00:16:53
    if we mix these colors all together the
  • 00:16:56
    blue and the orange put a little bit
  • 00:16:58
    more Orange in there with
  • 00:17:00
    it little bit of blue then we can make a
  • 00:17:03
    very neutral color right in the middle
  • 00:17:06
    see that really is very neutralized it
  • 00:17:09
    neither hardly looks hardly looks either
  • 00:17:11
    blue or orange it looks very gray as a
  • 00:17:14
    matter of fact which is just what the
  • 00:17:16
    way it should look but what we've done
  • 00:17:18
    now in this chart is to take intense
  • 00:17:21
    colors on the outside mix a little bit
  • 00:17:23
    of the complement with it and end up
  • 00:17:25
    with a very neutralized color in the
  • 00:17:27
    middle
  • 00:17:31
    [Music]
  • 00:17:36
    I'm looking at a black and white
  • 00:17:37
    photograph of the Capitol building and
  • 00:17:40
    and the reason we can read this
  • 00:17:41
    photograph is because of value contrast
  • 00:17:43
    value is the light and dark in any work
  • 00:17:46
    of art this has a light value here a
  • 00:17:49
    middle value here and a dark value here
  • 00:17:52
    actually there's a value scale here that
  • 00:17:55
    we can tell dark value light Valle value
  • 00:17:59
    middle value and a photograph has all of
  • 00:18:01
    these values in it value contrast
  • 00:18:04
    between dark and light is why we can see
  • 00:18:06
    that photograph in this project we're
  • 00:18:08
    going to be working with a series of of
  • 00:18:11
    gray values in order to understand what
  • 00:18:13
    value how value really works in a in a
  • 00:18:16
    painting so we start out with a with a
  • 00:18:18
    little pot of white here on our uh on
  • 00:18:22
    our tray and then put a little bit of
  • 00:18:24
    black with it clean the brush put a
  • 00:18:26
    little bit of black and it only has to
  • 00:18:27
    be a very very small bit put maybe out
  • 00:18:29
    to the side here and then go in and just
  • 00:18:31
    mix a little bit with it in order to
  • 00:18:33
    make a little gray very very light gray
  • 00:18:36
    and then fill this fill this whole page
  • 00:18:38
    with this painting of this light gray so
  • 00:18:40
    be sure you mix enough color so you can
  • 00:18:42
    really cover that whole piece once I
  • 00:18:45
    have all these swatches made way from
  • 00:18:47
    very dark to very light and then
  • 00:18:49
    actually even using a piece of white
  • 00:18:50
    paper for the whitest one we're going to
  • 00:18:53
    cut some shapes out of these things in
  • 00:18:54
    order to make a still life so we can
  • 00:18:56
    first draw on here we can maybe make it
  • 00:18:58
    an apple shape or the shape of some
  • 00:19:00
    fruit or bowl or bottle or something and
  • 00:19:03
    then cut the shape out of that we'll
  • 00:19:05
    just cut that you know it's a whole
  • 00:19:07
    series of of organic shapes so they
  • 00:19:09
    could be oranges lemons pears bottles
  • 00:19:13
    boxes whatever it is you want to put in
  • 00:19:14
    the in the still
  • 00:19:17
    life we have a bunch of shapes cut out
  • 00:19:19
    and we can all even decorate those a
  • 00:19:21
    little bit with other values once you
  • 00:19:23
    have a whole bunch of these pieces
  • 00:19:24
    arranged you can begin to put them
  • 00:19:26
    together on a on a nice uh on a nice
  • 00:19:29
    background we did with the background
  • 00:19:30
    here is to leave a white on the bottom
  • 00:19:32
    and black on the top those are the two
  • 00:19:34
    opposite ends of the value scale then we
  • 00:19:36
    begin to put objects on here see and
  • 00:19:38
    place them on there notice the contrast
  • 00:19:40
    between the dark and the
  • 00:19:42
    [Music]
  • 00:19:56
    light here's the most time TR see
  • 00:19:58
    there's an apple shape put that next to
  • 00:20:00
    the light that's going to be a focal
  • 00:20:01
    area in there see where there's more
  • 00:20:03
    contrast between the dark and the
  • 00:20:07
    light we put a mat on that and look we
  • 00:20:11
    put a value scale on that alongside of
  • 00:20:13
    that and here we have all these values
  • 00:20:15
    from the very darkest to the very
  • 00:20:16
    lightest lots of contrast but the reason
  • 00:20:19
    that we can see each one of those
  • 00:20:20
    objects is because it is a different
  • 00:20:23
    value once we have this gray black and
  • 00:20:26
    white collage done we can make a
  • 00:20:27
    painting from that just using this as a
  • 00:20:29
    value sketch for the painting look at
  • 00:20:32
    this little gray scale down here there's
  • 00:20:33
    a gray scale from black to very light
  • 00:20:35
    gray there's a color scale alongside it
  • 00:20:37
    all the different values of orange from
  • 00:20:40
    very light to very dark if you match the
  • 00:20:42
    oranges and Grays on the painting with
  • 00:20:45
    the oranges and Grays on the collage
  • 00:20:47
    then you should get a painting that
  • 00:20:48
    reads just as well as the collage reads
  • 00:20:50
    just like we started to do here in the
  • 00:20:52
    in the lower right hand corner look for
  • 00:20:55
    a minute at at Paul Clay's painting here
  • 00:20:57
    that he did all these different values
  • 00:20:59
    of of uh very few colors very gray
  • 00:21:02
    colors but all different values if you
  • 00:21:04
    squint and look at them you could see
  • 00:21:05
    light middle and dark valued squares
  • 00:21:08
    look at the way the picture in black and
  • 00:21:10
    white looks of the same painting and you
  • 00:21:12
    see the light middle and dark
  • 00:21:20
    [Music]
  • 00:21:23
    values texture is the element of design
  • 00:21:26
    that appeals to your tactile sense to
  • 00:21:28
    your sense of touch I feeling this
  • 00:21:31
    ceramic piece and I can feel all those
  • 00:21:34
    textures textures can either be real
  • 00:21:36
    like they are in the ceramic piece or
  • 00:21:38
    they can be implied for example in this
  • 00:21:41
    Photograph it looks like it's textured
  • 00:21:44
    but you run your hand over the surface
  • 00:21:45
    of that and it's actually no texture at
  • 00:21:48
    all in this watercolor painting there is
  • 00:21:50
    no texture at all but because of value
  • 00:21:53
    contrast it appears to be textured so
  • 00:21:55
    this is a simulated texture in this
  • 00:21:57
    water
  • 00:21:58
    color painters can use both real texture
  • 00:22:02
    actual texture and simulated texture if
  • 00:22:04
    we use paint That's thick enough this is
  • 00:22:06
    acrylic paint here if I use it thick
  • 00:22:08
    enough I can pick it up with a painting
  • 00:22:09
    knife and I can slather it on the canvas
  • 00:22:12
    or the piece of paper this way I can
  • 00:22:14
    actually leave texture see I can leave
  • 00:22:16
    Ridges of paint on there and I can
  • 00:22:18
    either use a use a painting knife to do
  • 00:22:20
    that or I can take a bristle brush and
  • 00:22:23
    get the same kind of paint and I can
  • 00:22:25
    slather that on also and then leave
  • 00:22:27
    those Rich textures
  • 00:22:28
    actual texture on the surface of the
  • 00:22:30
    painting I can also take watercolor and
  • 00:22:32
    make simulated texture and if I put it
  • 00:22:35
    on the on the piece of paper and then
  • 00:22:38
    take a piece of Kleenex and lift a
  • 00:22:41
    little bit on that I can blot I can make
  • 00:22:43
    it look like it's textured but in
  • 00:22:45
    reality because that's watercolor
  • 00:22:46
    there's no texture there at all I can
  • 00:22:48
    also take a sponge just a little piece
  • 00:22:51
    of sponge and take some of that same
  • 00:22:52
    color and print I can make it look
  • 00:22:55
    textur but you see that's simul ated
  • 00:22:58
    texture because there is no raised part
  • 00:23:01
    there that throws Shadow it just looks
  • 00:23:03
    like it's textured so here we have
  • 00:23:05
    actual Textures in paint and we have
  • 00:23:07
    simulated Textures in
  • 00:23:09
    paint when we want to work with textures
  • 00:23:11
    now we remember we can work with both
  • 00:23:13
    simulated and with with actual Textures
  • 00:23:16
    in this project we're going to work with
  • 00:23:17
    actual textures we have to go around and
  • 00:23:19
    find them I just brought along some
  • 00:23:20
    things to the studio here we have some
  • 00:23:22
    bricks and wood and a piece of sculpture
  • 00:23:24
    and we'll find that if we take a a piece
  • 00:23:27
    of paper and put it on over this texture
  • 00:23:29
    you've all done this you've done this
  • 00:23:31
    before and take a piece of uh of crayon
  • 00:23:34
    of wax crayon and rub over that we can
  • 00:23:37
    find the textures that are in there even
  • 00:23:39
    more than we can when we do it with our
  • 00:23:41
    fingers rub our fingers over that so you
  • 00:23:43
    can make wonderful rubbings of all kinds
  • 00:23:45
    of
  • 00:23:50
    [Music]
  • 00:23:56
    textures
  • 00:24:05
    [Music]
  • 00:24:07
    you can make some shaped animal here
  • 00:24:09
    like this we got this weird shaped bird
  • 00:24:11
    you can take some animal that comes from
  • 00:24:13
    another planet or something really out
  • 00:24:14
    of your imagination make an outline on a
  • 00:24:16
    piece of paper nice and big like this
  • 00:24:18
    then we're going to make them textured
  • 00:24:20
    with all of this stuff that we have here
  • 00:24:22
    so we can draw some of these shapes on
  • 00:24:24
    here or it'll just cut cut like this to
  • 00:24:26
    to get uh
  • 00:24:28
    to get shapes out of there and we can
  • 00:24:29
    always trim them off after a while see
  • 00:24:31
    we can cut the back of this bird can be
  • 00:24:33
    there and you can actually change the
  • 00:24:35
    shapes of that after a while but here we
  • 00:24:37
    can put some wings on here like this
  • 00:24:39
    just cut nice big shapes and we're going
  • 00:24:41
    to use all these big shapes put them all
  • 00:24:43
    together collage them
  • 00:24:46
    [Music]
  • 00:24:56
    together
  • 00:25:00
    and the Finishing Touch we'll put the
  • 00:25:01
    last one on here so we have one last
  • 00:25:03
    shape there he's got some good textures
  • 00:25:05
    lots of nice color and he looks kind of
  • 00:25:08
    of alone like this if we take him put
  • 00:25:09
    him on a piece of black cardboard like
  • 00:25:11
    this we see wow does he stand out we
  • 00:25:14
    have positive and negative shapes here
  • 00:25:16
    and everything look we can even go leave
  • 00:25:18
    part of them behind the with the black
  • 00:25:21
    and part of them with the brown there
  • 00:25:23
    then we put a mat around that and finish
  • 00:25:26
    that up and here we've got a wonderful
  • 00:25:28
    thing that has really taken textures
  • 00:25:30
    from all around us put all these
  • 00:25:32
    textures together with watercolor and uh
  • 00:25:35
    these are really simulated textures
  • 00:25:37
    because they're just imitating the
  • 00:25:38
    textures that are actually there and
  • 00:25:39
    made a handsome little bird out of those
  • 00:25:47
    [Music]
  • 00:25:51
    textures what I'm doing here these
  • 00:25:53
    people see these people are all about
  • 00:25:54
    the same size they're all lined up here
  • 00:25:56
    and there's no space evident here no
  • 00:25:59
    depth at all one in front of the other
  • 00:26:02
    so if I put one of these in front of the
  • 00:26:03
    other one then I begin to feel there's
  • 00:26:05
    some space there this one is in front of
  • 00:26:07
    that one and I can put this in front of
  • 00:26:09
    that one and I can cluster these
  • 00:26:11
    together a little bit and get a feeling
  • 00:26:13
    of of space so that if I bring a bigger
  • 00:26:16
    person down here and put that big person
  • 00:26:18
    in front of some of these then that
  • 00:26:20
    person feels a lot closer to me than the
  • 00:26:22
    other ones do and if I even Elevate some
  • 00:26:24
    of these so they go up a little bit
  • 00:26:26
    farther and uh and the ones I want to
  • 00:26:29
    make sure that the ones that are closest
  • 00:26:30
    to me are down a little bit lower then I
  • 00:26:32
    feel more space between this big figure
  • 00:26:35
    and that one back those back there if I
  • 00:26:37
    bring some smaller ones down in here and
  • 00:26:40
    put those up here they feel still
  • 00:26:42
    farther away if I overlap figures this
  • 00:26:45
    way overlap anything squares circles
  • 00:26:47
    fruit vegetables whatever it is they
  • 00:26:50
    will they will indicate there's some
  • 00:26:52
    space between the one that's nearest to
  • 00:26:53
    you and the one that's farthest away the
  • 00:26:55
    one that's nearest a little bit larger
  • 00:26:57
    maybe a little bit warmer and also the
  • 00:26:59
    bases of those will be closer to me if
  • 00:27:01
    they're if they're nearer farther away
  • 00:27:04
    the farther up the bases of those
  • 00:27:06
    figures will
  • 00:27:07
    be Robert Henry in his in his painting
  • 00:27:10
    here of New York in the wintertime used
  • 00:27:12
    another element there's some overlapping
  • 00:27:14
    in here to show space also going back
  • 00:27:16
    but he also used what we call linear
  • 00:27:18
    perspective he has a lot of the edges of
  • 00:27:20
    buildings like this to go to vanishing
  • 00:27:22
    point down here right probably right by
  • 00:27:23
    the Light almost and all these things
  • 00:27:26
    line up see the edge of the top edge of
  • 00:27:28
    the building there the buildings on this
  • 00:27:30
    side the people down below the tops of
  • 00:27:33
    the of the cart down here and all these
  • 00:27:35
    things everything goes toward this
  • 00:27:37
    Center in here which is really a
  • 00:27:39
    vanishing point or an area of focus back
  • 00:27:41
    in here artists use that to show depth
  • 00:27:44
    in their
  • 00:27:46
    painting a third type of of uh way to
  • 00:27:49
    feel space is to what we call
  • 00:27:50
    atmospheric perspective what I want to
  • 00:27:52
    do is to try to show a a a range of
  • 00:27:55
    mountains or a couple ranges of
  • 00:27:57
    mountains here one coming behind the
  • 00:27:59
    other one in front of the other one so
  • 00:28:01
    what I'm doing is putting washes over
  • 00:28:03
    this whole surface and it'll go all the
  • 00:28:05
    way down to the bottom of the page then
  • 00:28:06
    let it dry and then put another range of
  • 00:28:09
    mountains in front of it a little bit
  • 00:28:10
    darker maybe a little bit warmer put a
  • 00:28:12
    little bit of purple with the color so
  • 00:28:14
    it gets a little bit warmer and I'll do
  • 00:28:16
    that until I get down to the very front
  • 00:28:18
    of the painting and we'll see if we
  • 00:28:19
    develop a sense of
  • 00:28:22
    space each layer of color now has to get
  • 00:28:24
    progressively brighter stronger and more
  • 00:28:28
    intense and then we'll get that feeling
  • 00:28:30
    of space going back so here this one
  • 00:28:31
    it's very dark I've put a little bit of
  • 00:28:33
    red with it to warm it up a little when
  • 00:28:36
    I get that all done and that dry I can
  • 00:28:39
    put a mat on that and you'll see how the
  • 00:28:42
    sense of space develops with this being
  • 00:28:44
    very close and progressively this being
  • 00:28:47
    farther going farther and farther away
  • 00:28:50
    so there are three ways to show
  • 00:28:51
    perspective we can look at Robert
  • 00:28:53
    Henry's uh painting again to see how he
  • 00:28:56
    does that we can over overlap things
  • 00:28:58
    like people can overlap people behind
  • 00:29:00
    them buildings overlap buildings we have
  • 00:29:02
    perspective lines that go to onepoint
  • 00:29:04
    perspective and we have atmospheric
  • 00:29:06
    perspective with these buildings being
  • 00:29:08
    much much lighter these being much
  • 00:29:10
    darker and warmer as they come forward
  • 00:29:12
    if we put all three of those elements
  • 00:29:14
    together overlapping linear perspective
  • 00:29:17
    and aerial perspective we have a
  • 00:29:18
    tremendous sense of depth and space that
  • 00:29:21
    develops in a
  • 00:29:24
    painting we've been working with a
  • 00:29:26
    series of projects that have to do deal
  • 00:29:27
    with the elements of design all the
  • 00:29:29
    elements of design that we've talked
  • 00:29:31
    about now are all the things that
  • 00:29:32
    artists have to work with you can work
  • 00:29:34
    with those you've seen projects that you
  • 00:29:36
    can do with those but we hardly ever use
  • 00:29:38
    them separately we usually use them in
  • 00:29:40
    combination we find though that if we
  • 00:29:42
    know what all of these elements are we
  • 00:29:44
    can use them more effectively in our
  • 00:29:49
    [Music]
  • 00:29:56
    paintings
  • 00:29:59
    [Music]
  • 00:30:10
    the principles of design help us
  • 00:30:12
    organize the elements of design in a
  • 00:30:14
    more effective way some people call
  • 00:30:17
    these the formal properties of art
  • 00:30:19
    because they are used to organize those
  • 00:30:22
    principles of design are
  • 00:30:26
    balance
  • 00:30:29
    movement
  • 00:30:33
    Rhythm
  • 00:30:36
    contrast
  • 00:30:39
    emphasis
  • 00:30:41
    pattern and
  • 00:30:44
    unity these principles of design always
  • 00:30:47
    work together and as we Define them and
  • 00:30:49
    work with them we'll always be using one
  • 00:30:51
    or the other of the principles to help
  • 00:30:53
    us understand the one we're working on
  • 00:30:55
    better they are hardly ever used alone
  • 00:30:58
    always used in
  • 00:31:03
    [Music]
  • 00:31:05
    combinations what I'm trying to do here
  • 00:31:08
    is to balance these two elements in this
  • 00:31:11
    on this ruler I've got a heavy full can
  • 00:31:14
    of Coke and a little jar of temper of
  • 00:31:17
    paint I'm trying to find a way that I
  • 00:31:20
    can balance these balance is a sense of
  • 00:31:23
    being comfortable in a in this and it's
  • 00:31:26
    also a sense of being comfortable in a
  • 00:31:27
    work of art so in our works of art we
  • 00:31:30
    have to have balance also we'll see
  • 00:31:32
    several ways that we can establish
  • 00:31:34
    balance in a work of
  • 00:31:36
    art when two elements in a on a balance
  • 00:31:40
    like this or in a painting also are on
  • 00:31:42
    equal on both sides of the center we
  • 00:31:44
    call that symmetrical
  • 00:31:46
    balance if one of the elements seems
  • 00:31:48
    much larger but is lighter and weight
  • 00:31:51
    than the other one and they still seem
  • 00:31:53
    to balance even though they are
  • 00:31:55
    seemingly offc Center we call that a
  • 00:31:57
    symmetrical
  • 00:31:58
    balance in sculpture if we look at a at
  • 00:32:01
    a sculpture the sculpture is balanced
  • 00:32:04
    symmetrically right down the middle both
  • 00:32:06
    elements on both sides are exactly the
  • 00:32:08
    same I have another little owl here that
  • 00:32:12
    is asymmetrically balanced if we put a
  • 00:32:14
    line here about where the where there's
  • 00:32:17
    equal amount of weight on one side or
  • 00:32:19
    the other there's much more on one side
  • 00:32:21
    but it seems balanced because of the
  • 00:32:23
    activity all the activity in the head
  • 00:32:25
    being on this side of the skull
  • 00:32:28
    sculpture paintings also can either be
  • 00:32:30
    symmetrical or asymmetrically balanced
  • 00:32:33
    this painting by Freda Koo is
  • 00:32:35
    symmetrically balanced with almost
  • 00:32:37
    everything on one side being the same as
  • 00:32:39
    that on the other we if we look at a
  • 00:32:41
    winow homer painting wins Homer's
  • 00:32:44
    painting has many more objects on one
  • 00:32:46
    side than it does on the other it's not
  • 00:32:48
    symmetrically balanced if we put a line
  • 00:32:50
    down the middle there's more weight on
  • 00:32:52
    one side than the other but the little
  • 00:32:53
    bright spot over here seems to balance
  • 00:32:55
    all of this weight on this side side not
  • 00:32:58
    all paintings need to be balanced
  • 00:33:00
    asymmetrically or symmetrically if we
  • 00:33:02
    look at Mark Toby's painting with an all
  • 00:33:04
    over pattern there's no need to balance
  • 00:33:06
    because everything seems to be already
  • 00:33:09
    in Balance if we want to make projects
  • 00:33:12
    using symmetrical balance we can make a
  • 00:33:14
    whole lot of charts like this with nice
  • 00:33:16
    bright colors and cut out paper so
  • 00:33:18
    they're exactly the same on one side as
  • 00:33:20
    the other I can make them very fancy I
  • 00:33:22
    can keep adding pieces to that I can
  • 00:33:24
    keep building those up and making them
  • 00:33:27
    keeping them in symmetrical balance this
  • 00:33:29
    would not be in symmetrical balance so I
  • 00:33:31
    could put that back in exactly the way
  • 00:33:33
    it was in symmetrical balance I can put
  • 00:33:36
    lines down the
  • 00:33:37
    center so you can do all kinds of pieces
  • 00:33:40
    of paper you can draw in there paint in
  • 00:33:41
    there add postage stamps whatever you
  • 00:33:44
    want to do but every keeping everything
  • 00:33:45
    on the same on both sides of a Center
  • 00:33:49
    Line asymmetrical balance and projects
  • 00:33:51
    that work with asymmetrical balance
  • 00:33:54
    means that we have to have larger spaces
  • 00:33:56
    on one side maybe they're duller in
  • 00:33:58
    color balanced by a smaller space
  • 00:34:00
    farther away from the center from the
  • 00:34:02
    fulcrum that gives a sense of balance of
  • 00:34:05
    sense of being comfortable so when we
  • 00:34:06
    want to play with those we have to say
  • 00:34:08
    we work on projects that are going to
  • 00:34:10
    going to uh to use those things we have
  • 00:34:12
    to put colors on one side that are a
  • 00:34:14
    little bit duller on the other side a
  • 00:34:16
    little bit brighter to make them seem
  • 00:34:18
    inbalance we can even move this over to
  • 00:34:20
    the center a little bit to keep that
  • 00:34:23
    that feels in Balance if this were very
  • 00:34:25
    bright over here if we put something
  • 00:34:26
    over here like this it would no longer
  • 00:34:28
    be in Balance this would be stronger so
  • 00:34:30
    we want to keep one side a little bit
  • 00:34:32
    neutral make the other side a little bit
  • 00:34:34
    brighter we can look at this nice bright
  • 00:34:37
    red over here we can balance that we can
  • 00:34:39
    move that out farther even if that's if
  • 00:34:41
    that's so bright in order to make that
  • 00:34:43
    uh keep that in Balance look for example
  • 00:34:46
    at asymmetrical balance here's a
  • 00:34:47
    photograph that is in visual balance
  • 00:34:50
    even though it's asymmetrical we put a
  • 00:34:52
    line down the center of that there's
  • 00:34:54
    more activity on one side but it's
  • 00:34:56
    duller more the same over here we have a
  • 00:34:58
    lot of contrast between dark and light
  • 00:35:00
    visually that feels
  • 00:35:07
    comfortable movement in in as a
  • 00:35:10
    principle of design is the way we have
  • 00:35:12
    of organizing the painting by forming
  • 00:35:15
    movement toward a focal area the focal
  • 00:35:17
    area in this painting of Diego Rivera is
  • 00:35:19
    the place where the slave is being freed
  • 00:35:22
    with the knife notice all the shapes the
  • 00:35:25
    dark shapes move toward this
  • 00:35:28
    place the light shapes down here move
  • 00:35:30
    toward this place so shapes move toward
  • 00:35:34
    this place that's a a a a kind of
  • 00:35:36
    movement that we have in the
  • 00:35:38
    painting in sculpture also we have
  • 00:35:41
    visual movement our eye moves like from
  • 00:35:43
    the tail here across the back up to the
  • 00:35:46
    focal area which happens to be the head
  • 00:35:48
    and the with these floppy ears most of
  • 00:35:50
    the time the focal arean animal would be
  • 00:35:52
    the head and movement is very important
  • 00:35:54
    in a sculpture we can feel it with our
  • 00:35:55
    hands as that movement goes toward the
  • 00:35:59
    focus movement goes along long shapes
  • 00:36:02
    like this long such long shapes will
  • 00:36:04
    help direct our eye towards some part of
  • 00:36:06
    the painting we can make a little
  • 00:36:08
    project by putting some of these shapes
  • 00:36:09
    down this long shapes down this way and
  • 00:36:12
    then putting a different kind of paper a
  • 00:36:14
    different kind of shape where the focal
  • 00:36:16
    area would be see we can bring these in
  • 00:36:19
    close so that our eye moves along these
  • 00:36:21
    lines toward that focal area we put a
  • 00:36:24
    little mat over that we have a very nice
  • 00:36:27
    design that will that will show movement
  • 00:36:30
    toward a
  • 00:36:31
    focus visual movement toward the
  • 00:36:34
    focus we can use curved pieces which are
  • 00:36:37
    much more interesting and much more fun
  • 00:36:38
    to work with also to move toward a focal
  • 00:36:40
    point so before you collage these down
  • 00:36:42
    stick them down you could have them
  • 00:36:44
    overlapping winding around but they're
  • 00:36:47
    all curved pieces all leading toward a
  • 00:36:50
    focal area that focal course is right in
  • 00:36:52
    here notice how your eye just moves
  • 00:36:53
    automatically on those long pieces if we
  • 00:36:56
    put a different shape in there like a
  • 00:36:57
    little rectangle that makes it I can put
  • 00:37:00
    a little red dot in that rectangle even
  • 00:37:02
    to make that definitely a focal area and
  • 00:37:06
    see if I put a little a mat over that
  • 00:37:09
    you can't help but be drawn in on that
  • 00:37:11
    and that's what visual movement does in
  • 00:37:12
    the painting it pulls the outside edges
  • 00:37:15
    right into the focal
  • 00:37:16
    point what I'm doing here is arranging a
  • 00:37:19
    bunch of black pieces of paper on a
  • 00:37:21
    white on a white background in order to
  • 00:37:23
    produce movement I'm going to make a
  • 00:37:25
    collage out of this but I want movement
  • 00:37:27
    to go on white spaces into some like
  • 00:37:30
    this is going to be the focal area that
  • 00:37:32
    our I will move on this our I will move
  • 00:37:34
    on this see those long pieces like in
  • 00:37:36
    our last exercise those long pieces will
  • 00:37:38
    help produce movement this is what we
  • 00:37:40
    call Visual movement or passage from one
  • 00:37:44
    part of the painting to the other a lot
  • 00:37:46
    of paintings need to have that in order
  • 00:37:47
    to hold them
  • 00:37:49
    together in one of my watercolors we can
  • 00:37:52
    analyze a little bit and see how
  • 00:37:54
    movement Works in a painting this house
  • 00:37:56
    is a focal area this is a painting done
  • 00:37:58
    in Hawaii notice how the light moves
  • 00:38:01
    from here from the lower leftand corner
  • 00:38:02
    up to the focal area from the sky up on
  • 00:38:05
    top down into the focal area from the
  • 00:38:08
    upper leftand corner these neutral Grays
  • 00:38:10
    move down into the focal area everything
  • 00:38:13
    in the painting leads to the focal area
  • 00:38:15
    big shape over here on the right side
  • 00:38:18
    moves down into the focal area almost
  • 00:38:19
    like those little strips that we cut
  • 00:38:21
    only this is with actual subject matter
  • 00:38:24
    so every painting like a landscape like
  • 00:38:27
    this is more effective if there's a
  • 00:38:29
    focal area and then movement on light
  • 00:38:32
    value or dark value visual movement to
  • 00:38:35
    that focal
  • 00:38:38
    [Music]
  • 00:38:42
    area what I'm trying to do here is to
  • 00:38:44
    arrange these objects I have some
  • 00:38:47
    figures and some pillars or or posts
  • 00:38:50
    arrange them in some sort of a rhythmic
  • 00:38:52
    pattern Rhythm is a principle of design
  • 00:38:55
    that helps us to organized Space by
  • 00:38:57
    having regular repetitions of of things
  • 00:39:00
    happening we can have regular rhythm
  • 00:39:03
    where these could be exactly equally
  • 00:39:05
    spaced or we can have irregular Rhythm
  • 00:39:08
    where we do something like this that
  • 00:39:09
    these pieces would still be there in a
  • 00:39:12
    rhythmic way but they would be irregular
  • 00:39:15
    not quite so so evenly spaced when we
  • 00:39:19
    look at paintings we can find that
  • 00:39:20
    happening in the paintings you can look
  • 00:39:22
    at Marcel duchamp's painting of of new
  • 00:39:26
    descending a staircase and we see these
  • 00:39:28
    rhythmic repetitions repetitions of the
  • 00:39:31
    legs repetitions of the hips repetitions
  • 00:39:34
    of the shoulders repetitions of the head
  • 00:39:36
    this is an abstract painting but with
  • 00:39:38
    the repetition and the Rhythm the
  • 00:39:40
    painting holds together very very well
  • 00:39:43
    we could look at one of Louise
  • 00:39:44
    nevelson's sculptures a photograph of
  • 00:39:46
    one of her sculptures look at the
  • 00:39:48
    rhythmic pattern over here nice
  • 00:39:50
    repetition helps to organize this part
  • 00:39:53
    of her
  • 00:39:54
    composition look at Robert renberg's
  • 00:39:57
    painting the red spots in here produce a
  • 00:39:59
    rhythm because those Reds keep popping
  • 00:40:02
    out all the time but it's an irregular
  • 00:40:04
    Rhythm they're all grouped together down
  • 00:40:06
    here one by itself here little bits of
  • 00:40:08
    red over here so the Rhythm in this
  • 00:40:09
    painting is irregular so we can have
  • 00:40:12
    regular and irregular Rhythm that
  • 00:40:14
    artists use to help organize their
  • 00:40:17
    paintings we can also work with a
  • 00:40:19
    different group of shapes we're using a
  • 00:40:21
    whole lot of elements here from other
  • 00:40:23
    projects that we worked on but notice
  • 00:40:24
    that how complex this can get down here
  • 00:40:26
    we still have the rhythms established
  • 00:40:28
    these are irregular rhythms usually
  • 00:40:31
    irregular rhythms are more exciting than
  • 00:40:33
    regular rhythms they might get a little
  • 00:40:35
    bit monotonous but the pinks begin to
  • 00:40:37
    repeat the people repeat the greens
  • 00:40:39
    repeat the yellows repeat we have all
  • 00:40:41
    these repetitious shapes in here we have
  • 00:40:43
    a focal area right in here now in this
  • 00:40:45
    design because of this shape that's
  • 00:40:46
    different from all the others so we have
  • 00:40:48
    movement and we have focus in here and
  • 00:40:51
    we have a beautiful set of rhythms that
  • 00:40:53
    are being
  • 00:40:55
    established Architects are probably the
  • 00:40:57
    kind of artists that make the most use
  • 00:40:59
    of Rhythm in their work notice in the
  • 00:41:02
    Parthenon which was designed by
  • 00:41:04
    architect a long long time ago notice
  • 00:41:06
    the way the Rhythm Is In The Columns and
  • 00:41:09
    that helps unify the surface and helps
  • 00:41:11
    hold it together look at the landscape
  • 00:41:14
    over here we have a very irregular
  • 00:41:16
    Rhythm notice way the trees create an
  • 00:41:18
    irregular Rhythm usually when trees are
  • 00:41:21
    just growing in in the Wilds they are
  • 00:41:23
    not in a rhythmic regular rhythmic
  • 00:41:25
    pattern but in irregular rhythmic
  • 00:41:33
    pattern what I'm doing here is feeling
  • 00:41:36
    the contrast between a smooth surface
  • 00:41:38
    and a rough surface on this ceramic pot
  • 00:41:42
    contrast is the principle of design that
  • 00:41:45
    helps give us a little bit of excitement
  • 00:41:47
    in our painting the opposite of contrast
  • 00:41:50
    would be would be sameness and sameness
  • 00:41:53
    leads to boredom so when we want works
  • 00:41:55
    of art to be exciting we have to have
  • 00:41:58
    some sort of
  • 00:41:59
    contrast in a painting like Paul zon's
  • 00:42:02
    still life the artist use a great many
  • 00:42:05
    kinds of contrast for example to make it
  • 00:42:08
    exciting he used contrast between plain
  • 00:42:11
    areas with no pattern and areas that
  • 00:42:14
    have lots of
  • 00:42:15
    pattern he has contrast between edges
  • 00:42:18
    that are hard and crisp and edges that
  • 00:42:21
    are very soft and almost
  • 00:42:23
    disappear he contrasts very dark values
  • 00:42:28
    with very light
  • 00:42:30
    values he contrasts intense
  • 00:42:33
    colors bright yellows and reds with very
  • 00:42:36
    neutralized colors that are very
  • 00:42:39
    gray he contrast warm temperatures in
  • 00:42:42
    many places with cool temperatures Grays
  • 00:42:46
    greens and
  • 00:42:48
    blues you contrast textured areas like
  • 00:42:51
    all of this cloth in the background here
  • 00:42:54
    with non-textured areas is like the
  • 00:42:56
    surface of the
  • 00:42:58
    table he contrast geometric shapes like
  • 00:43:02
    edges of the table with very organic
  • 00:43:05
    shapes of the fruit and
  • 00:43:07
    vegetables he contrasts large shapes and
  • 00:43:11
    very large shape like this back here and
  • 00:43:13
    large negative shapes with very small
  • 00:43:16
    shapes so he has all of those contrasts
  • 00:43:18
    eight of them all together probably more
  • 00:43:20
    in here but all of those contrasts help
  • 00:43:23
    make that painting very very interesting
  • 00:43:26
    one way that you can really begin to
  • 00:43:28
    understand contrast is to work with a
  • 00:43:30
    chart that really shows contrast for
  • 00:43:33
    example I started one here and we're
  • 00:43:34
    going to keep working on that now that
  • 00:43:36
    that that shows intense color very
  • 00:43:38
    bright right the way it comes out of the
  • 00:43:40
    bottle and then neutralized with a
  • 00:43:42
    complimentary color we can show dark
  • 00:43:45
    value of the same color and light value
  • 00:43:48
    we can show edges that are soft can
  • 00:43:51
    paint them that way edges that are hard
  • 00:43:53
    you can paint these larger cut them out
  • 00:43:55
    and then put them on the chart
  • 00:43:56
    we have an area that has no pattern
  • 00:43:58
    these are all of seon's contrast and we
  • 00:44:01
    have area that is patterned now we can
  • 00:44:03
    find things in magazines for example we
  • 00:44:05
    have cool temperature and warm
  • 00:44:07
    temperature contrast I cut some pages
  • 00:44:09
    out of a magazine that show warm
  • 00:44:12
    temperatures and those that show cool
  • 00:44:15
    temperatures we can make Che areas that
  • 00:44:17
    are textured and non-textured is a
  • 00:44:20
    textured and a non-textured area we can
  • 00:44:22
    do do ones with areas with geometric
  • 00:44:25
    shapes
  • 00:44:27
    you can put those in a little collage
  • 00:44:28
    and and and mount those on there on the
  • 00:44:30
    chart or we can make them with organic
  • 00:44:33
    shapes so we cut pieces that are not
  • 00:44:40
    geometric you can make a little collage
  • 00:44:42
    out of out of organic shape and then we
  • 00:44:45
    can contrast large and small and we can
  • 00:44:47
    put some large shapes in
  • 00:44:50
    here and see we can put bigger big
  • 00:44:52
    shapes on one side to to show large
  • 00:44:55
    shapes
  • 00:44:56
    and then we can put confetti like pieces
  • 00:44:58
    on the other side this is something that
  • 00:45:01
    that uh makes a big mess but it also
  • 00:45:04
    emphasizes the fact that there are the
  • 00:45:07
    difference between large shapes and
  • 00:45:09
    small shapes and then you have a chart
  • 00:45:11
    that has eight different kinds of of
  • 00:45:14
    contrasts on it and if you understand
  • 00:45:16
    these contrasts then you're able to and
  • 00:45:19
    put them in your paintings and make your
  • 00:45:20
    paintings more interesting they certain
  • 00:45:22
    will not be boring or the same if you
  • 00:45:25
    can continue to use all these kinds of
  • 00:45:28
    [Music]
  • 00:45:32
    contrast I'm working on a collage here
  • 00:45:35
    that is going to emphasize emphasis and
  • 00:45:38
    we're going to put this is really
  • 00:45:40
    emphasizing a uh very warm colors and
  • 00:45:43
    they're going to contrast with with cool
  • 00:45:44
    colors I'm going to do kind of a poin
  • 00:45:46
    Zetta like design the focal points going
  • 00:45:49
    to be right in here now where we put the
  • 00:45:52
    focal point in a painting is rather
  • 00:45:54
    important if we put a focal point you
  • 00:45:58
    know we don't want to put the focal
  • 00:45:59
    point right in the middle that doesn't
  • 00:46:00
    make it very interesting if we make a
  • 00:46:02
    few lines on our on our uh paper before
  • 00:46:05
    we start where these cross this is a
  • 00:46:08
    good place for a focal point here and
  • 00:46:10
    here and here and here so if we turn it
  • 00:46:12
    up like this we're doing a vertical this
  • 00:46:14
    is a good place to put the focal point
  • 00:46:16
    and we're going to emphasize movement
  • 00:46:18
    toward that focus and then the focus
  • 00:46:20
    itself will be my point of emphasis this
  • 00:46:22
    is going to be kind of an abstract
  • 00:46:23
    collage of a uh po set a so we'll put
  • 00:46:26
    some of these colors down these are nice
  • 00:46:28
    bright red colors and I'm using two
  • 00:46:30
    values of the colors you see that one's
  • 00:46:32
    darker than the other by doing that I'm
  • 00:46:34
    able to make shapes inside of this big
  • 00:46:38
    this big overall uh pattern of uh of
  • 00:46:41
    poinsettas so I will have have light
  • 00:46:45
    shapes and dark shapes if I put the dark
  • 00:46:47
    shapes
  • 00:46:48
    together like this one next to the other
  • 00:46:51
    one I'm creating movement see I'm moving
  • 00:46:54
    from one shape to another other but the
  • 00:46:57
    values are the same moving toward the
  • 00:46:58
    focus up here so if I keep doing this
  • 00:47:01
    I'll be able to fill the whole page up
  • 00:47:03
    with this with this uh with these big
  • 00:47:06
    pieces of nice bright red color in the
  • 00:47:09
    focal area itself I want to have
  • 00:47:11
    something a little bit different and in
  • 00:47:12
    a poin Zetta that focal area might be
  • 00:47:15
    pieces of
  • 00:47:16
    yellow the emphasis on this in this
  • 00:47:19
    collage is on the red and on movement
  • 00:47:22
    toward the focus so I'll fill this whole
  • 00:47:24
    page up with uh with um uh pieces of red
  • 00:47:28
    color this way then we'll take a look at
  • 00:47:30
    it and see how the how the design will
  • 00:47:33
    look when it gets
  • 00:47:35
    finished just putting the finishing
  • 00:47:37
    touches in here this is a nice red
  • 00:47:41
    design and will show how the emphasis
  • 00:47:43
    begins to work and I'm really putting
  • 00:47:45
    some brighter yellow colors in this in
  • 00:47:48
    the focal area because that's my point
  • 00:47:50
    of emphasis in here now look how these
  • 00:47:52
    colors all begin to work together this
  • 00:47:54
    is kind of an abst ract design now it
  • 00:47:56
    turned out a little bit more abstractly
  • 00:47:58
    I put Colors Over the Top and and
  • 00:47:59
    changed them a little bit this one is
  • 00:48:01
    very abstract I've done another one that
  • 00:48:03
    I did before that is a little bit more
  • 00:48:05
    realistic but has the same properties to
  • 00:48:07
    it that the emphasis is really on moving
  • 00:48:11
    up into the painting toward this focal
  • 00:48:13
    area here there is great contrast so the
  • 00:48:15
    emphasis is placed right there but the
  • 00:48:18
    emphasis is really also on the fact this
  • 00:48:20
    is a warm painting with cool contrast
  • 00:48:23
    the emphasis is on a warm dominance with
  • 00:48:26
    cool accents and then the focal area
  • 00:48:28
    being in this location up
  • 00:48:31
    here notice how tus L Trek when he made
  • 00:48:34
    this painting made the emphasis up in
  • 00:48:37
    here this is where we what we call call
  • 00:48:39
    our focal area and he has these big
  • 00:48:41
    shapes leading up to that focal area
  • 00:48:44
    actually the emphasis here is on this
  • 00:48:45
    group of people the contrast in here
  • 00:48:48
    between warm and cool and dark and light
  • 00:48:50
    make the emphasis right here and that
  • 00:48:53
    becomes our focal
  • 00:48:54
    point not all paintings really need to
  • 00:48:57
    have that look at Jasper John's painting
  • 00:48:59
    here which doesn't have any Focus the
  • 00:49:02
    emphasis here is on color and on the on
  • 00:49:05
    the rhythmic pattern that is being
  • 00:49:07
    developed not on a focal
  • 00:49:14
    point I'm looking at it at a piece of
  • 00:49:16
    Indonesian Boutique which has been
  • 00:49:19
    printed in a pattern pattern is one of
  • 00:49:21
    the principles of design that some
  • 00:49:24
    artists use architect use it a great
  • 00:49:26
    deal uh but painters also use it and
  • 00:49:29
    many designers do pattern is repeated
  • 00:49:32
    elements of the of design any of the
  • 00:49:35
    elements of design can be used line
  • 00:49:37
    texture shape color look at the pattern
  • 00:49:40
    on the outside here as it's repeated
  • 00:49:42
    around the edge that's a border pattern
  • 00:49:45
    this little piece has also got pattern
  • 00:49:48
    in it repeated constantly from one part
  • 00:49:51
    to another over and over and over and
  • 00:49:52
    over again to make a regular pattern
  • 00:49:55
    this is a regular on the outside
  • 00:49:57
    patterns can be both regular and
  • 00:49:59
    irregular but these are all regular
  • 00:50:02
    patterns that are woven into that cloth
  • 00:50:05
    wallpaper also has a pattern look at the
  • 00:50:08
    repeated elements that keep repeating
  • 00:50:11
    all the time there are repeated lines
  • 00:50:14
    repeated textures and since they're
  • 00:50:16
    repeated on regular intervals we call
  • 00:50:19
    this regular
  • 00:50:21
    pattern we can find pattern in nature
  • 00:50:24
    also both regular and irregular when you
  • 00:50:27
    cut into a piece of fruit like this
  • 00:50:28
    grapefruit you can find regular pattern
  • 00:50:31
    those segments are repeated again and
  • 00:50:34
    again all the way around this circular
  • 00:50:36
    design here we have a rock that has
  • 00:50:39
    holes in it the holes make a pattern in
  • 00:50:41
    the rock those patterns are irregular
  • 00:50:44
    they're not in a regular
  • 00:50:46
    sequence I'm just experimenting a little
  • 00:50:48
    bit here with this it's just an eraser
  • 00:50:50
    that I'm printing printing is very
  • 00:50:52
    probably the best way to show repeat
  • 00:50:54
    patterns cuz because you can repeat
  • 00:50:56
    exactly the same shape again and again
  • 00:50:59
    but I see I can make it
  • 00:51:00
    irregular here's the same shape
  • 00:51:03
    repeated but it becomes irregular as far
  • 00:51:06
    as the pattern is concerned if we want
  • 00:51:08
    to make regular patterns then we have to
  • 00:51:10
    lay out a uh design on a piece of paper
  • 00:51:13
    that is in a regular pattern if I take
  • 00:51:15
    this Angel and print it and put it in
  • 00:51:18
    one of these
  • 00:51:20
    spots and print it
  • 00:51:23
    again here and it
  • 00:51:26
    again here see I can work it like this
  • 00:51:30
    this is called a drop pattern when when
  • 00:51:32
    things are when they don't show up right
  • 00:51:35
    directly below one below the other but
  • 00:51:36
    drop down and move over to the side
  • 00:51:38
    that's called a drop pattern and that's
  • 00:51:41
    way you see a lot of of wallpaper is
  • 00:51:43
    made that way so you just would
  • 00:51:45
    alternate squares that way and build up
  • 00:51:47
    a regular pattern I can also make those
  • 00:51:50
    take those same things and make
  • 00:51:51
    irregular patterns with them I can use
  • 00:51:53
    the angel make an irregular pattern by
  • 00:51:56
    putting the angel there and putting her
  • 00:51:58
    there and see I can just make an
  • 00:52:01
    irregular pattern the angel is repeated
  • 00:52:03
    the element is repeated but it's
  • 00:52:06
    repeated in an irregular
  • 00:52:08
    way making pattern here in
  • 00:52:10
    threedimensional pattern actually making
  • 00:52:13
    it in a piece of clay pattern in Clay is
  • 00:52:16
    fun to make see this is a regular
  • 00:52:17
    pattern being repeated just one Mark
  • 00:52:20
    after another I could use other kinds of
  • 00:52:22
    tools make other kinds of patterns see
  • 00:52:24
    this will make a different kind of
  • 00:52:25
    pattern as long as I repeat I could
  • 00:52:28
    repeat those like a brick pattern see I
  • 00:52:30
    could do them this way like a drop
  • 00:52:32
    pattern one alternating with the other
  • 00:52:34
    one as it goes along here so you have
  • 00:52:37
    different kinds of pattern but the
  • 00:52:39
    pattern is a thing that makes the
  • 00:52:40
    surface of a of a clay body interesting
  • 00:52:43
    but it makes the surface of your
  • 00:52:44
    painting interesting
  • 00:52:46
    also people who work with quilts also
  • 00:52:49
    have to use pattern
  • 00:52:51
    continually if an architect designs the
  • 00:52:54
    front of a building he wants the pattern
  • 00:52:55
    on the front of the building to make
  • 00:52:57
    that facade of the building more
  • 00:52:59
    interesting we look at Paul Clay's
  • 00:53:01
    painting Paul Clay's painting also has
  • 00:53:04
    pattern those repeated squares make
  • 00:53:06
    pattern like a checkerboard almost but
  • 00:53:09
    because of the way Paul clay put them
  • 00:53:10
    together it certainly is not
  • 00:53:14
    [Music]
  • 00:53:18
    monotonous what I'm trying to do here is
  • 00:53:21
    to bring order out of chaos there are a
  • 00:53:24
    bunch of pieces P of colored paper here
  • 00:53:27
    I'm trying to organize them and trying
  • 00:53:29
    to create some kind of unity that it all
  • 00:53:31
    feels together the opposite of unity is
  • 00:53:33
    chaos and that's about the way this this
  • 00:53:36
    seems now uh we can create a sense of of
  • 00:53:39
    unity a little bit if we kind of bring
  • 00:53:41
    these together a little but if we
  • 00:53:43
    overlap them and bring them closer
  • 00:53:46
    together even pieces that are closer
  • 00:53:48
    together they'll begin to feel more
  • 00:53:50
    unified if we kind of cluster them so by
  • 00:53:54
    bringing them closer to together I can
  • 00:53:55
    make them feel unified if I take out a
  • 00:53:57
    few of these colors like take out some
  • 00:54:00
    of these green ones maybe leave one for
  • 00:54:04
    accent after a while and have all the
  • 00:54:06
    colors more related to each other that
  • 00:54:09
    establishes a greater sense of unity see
  • 00:54:12
    they're all kind of warm against that
  • 00:54:13
    cool background and that establishes a
  • 00:54:16
    better sense of unity I can also line up
  • 00:54:19
    edges I can take the edges of these
  • 00:54:21
    things and line them up so that they
  • 00:54:24
    they continue from one Edge to another
  • 00:54:26
    and can tie the pieces together like
  • 00:54:28
    that so that that edge goes all the way
  • 00:54:30
    across comes down and and ties those if
  • 00:54:33
    I tie those edges together that will
  • 00:54:35
    give me another sense of unity of
  • 00:54:37
    establishing a sense of belonging
  • 00:54:39
    everything belonging together Unity
  • 00:54:42
    actually in a work of art see if I line
  • 00:54:44
    things up like this a little bit unity
  • 00:54:46
    in a work of art means that that
  • 00:54:48
    everything seems to belong everything
  • 00:54:50
    seems to work together and then if I put
  • 00:54:52
    a put this green piece in here as a a as
  • 00:54:55
    a focal area see I can get all these
  • 00:54:58
    pieces together I've left out a few of
  • 00:55:00
    those green ones I've unified it by
  • 00:55:02
    using syar warm colors with a cool
  • 00:55:04
    accent lining up edges clustering things
  • 00:55:07
    together all of those are ways that
  • 00:55:09
    artists can use to unify a
  • 00:55:12
    painting if we look at a couple of works
  • 00:55:15
    of art that people have done just in
  • 00:55:16
    recent years we can see how Unity has
  • 00:55:18
    been established by these artists Louis
  • 00:55:21
    nevelson in her Wood Construction has
  • 00:55:23
    all kinds of pieces of wood but look at
  • 00:55:26
    the center part in here it doesn't have
  • 00:55:27
    any relation to these pieces at all
  • 00:55:29
    except that they're three-dimensional
  • 00:55:30
    but by painting them all white that
  • 00:55:33
    unifies this whole surface it's going to
  • 00:55:35
    be a very many different kinds of things
  • 00:55:38
    happening but a single color will help
  • 00:55:40
    unite them all you can look at the
  • 00:55:42
    painting a painting by George sarra now
  • 00:55:46
    look at the unity that's established in
  • 00:55:48
    here it's almost by technique because
  • 00:55:50
    all the figures are painted very much
  • 00:55:51
    alike with all their hard edges and
  • 00:55:54
    their stylization
  • 00:55:55
    it helps unify the whole surface because
  • 00:55:57
    the figures are all over the surface not
  • 00:56:00
    only that all this surface is made up of
  • 00:56:02
    very small dots in a technique called
  • 00:56:05
    pointalism all those points of color
  • 00:56:08
    help establish a sense of unity also
  • 00:56:10
    throughout the surface it's all a
  • 00:56:12
    similar kind of texture so by style and
  • 00:56:15
    by texture and by brush stroke we can
  • 00:56:18
    also establish unity in the
  • 00:56:20
    painting look at one of Van Go's
  • 00:56:23
    drawings the reason this is Unified is
  • 00:56:25
    because you can see all of those marks
  • 00:56:28
    little dots little lines helps establish
  • 00:56:31
    a sense of unity so does the feeling of
  • 00:56:33
    going from forward back into the
  • 00:56:35
    painting in perspective that helps
  • 00:56:38
    establish unity and the same color is
  • 00:56:40
    used in the ink throughout the work so
  • 00:56:42
    here we have marks the kind of marks the
  • 00:56:45
    kind of color the feeling of space going
  • 00:56:47
    back into the painting that establishes
  • 00:56:51
    Unity Edgar dear in his pastel use all
  • 00:56:54
    of the principles of design practically
  • 00:56:56
    all of them in order to make one unified
  • 00:56:59
    statement he used balance asymmetrical
  • 00:57:02
    balance see if we divide this up smaller
  • 00:57:04
    here bigger here on this side more
  • 00:57:06
    activity over here he used movement all
  • 00:57:09
    of these things Parts move the values
  • 00:57:11
    move the colors move look at the Rhythm
  • 00:57:14
    that he used the all the rhythms of the
  • 00:57:16
    hands and the arms The rhythms of the
  • 00:57:18
    skirts down here all of those help unify
  • 00:57:21
    the surface use lots of contrast between
  • 00:57:24
    dark and Light between big open spaces
  • 00:57:26
    and very congested spaces between warm
  • 00:57:28
    and cool it's got all kinds of of
  • 00:57:31
    contrasts happening
  • 00:57:33
    also some artists like Edgar dega use
  • 00:57:36
    almost every one of the principles of
  • 00:57:37
    design in order to complete his work not
  • 00:57:40
    all artists use all the principles but
  • 00:57:43
    some of them use almost every one as the
  • 00:57:45
    god did in his work and when he gets
  • 00:57:47
    done he has a very very beautiful fully
  • 00:57:49
    organized and very cohesive and unified
  • 00:57:53
    work
  • 00:58:08
    [Music]
Tags
  • art
  • design
  • ligne
  • forme
  • couleur
  • texture
  • valeur
  • espace
  • équilibre
  • mouvement
  • rythme
  • contraste