ArtTalk, Student Edition (4th Edition)
Format: PDF / Kindle (mobi) / ePub
The perfect blend of art criticism, art history, aesthetics, and studio production.
ArtTalk has expanded its coverage of art history, strengthened its technology integration features, and placed more emphasis on the performing arts - all while maintaining its focus on a media approach to the elements and principles of art.
sides of a sheet of watercolor paper and repeat the process. If available, try using different types of natural and synthetic watercolor brushes. Share and compare your results with those of classmates. Computer Option. Drawing with color on the computer is like drawing with light. Light as the computer’s pigment can vary in opacity from opaque, like tempera paint, to transparent, like watercolors. Find the menu in the application you are using that controls opacity. Explore the settings.
Forms 6 Seeing Colors in Art 7 Textured Buildings 8 Moving Art 9 Tipping the Balance 10 Art and Politics 11 Artistic Roots 12 Saving Africa’s Art 13 Meet Maya Lin 14 Designing Artist 22 38 64 94 132 168 194 224 252 284 314 348 386 408 ING LOOK ELY S CLO CREDIT ON PAGE 203. CHAPTER xiv 4 Line Types and Variations 75 5 Identifying Perspective Techniques 116 6 Jumps in Color Value Create Visual Movement 156 7 Visual Texture Combinations 176 8 Visual Rhythms
ART Linking to the Performing Arts Explore the use of line in dance as shown in the performance of “Danza de la Reata” by Ballet Folklorico de Mexico in the Performing Arts Handbook on page 416. One example of the element of line is the use of the lariat, or lasso, during the performance. Identify other examples. Chapter 4 Review 95 ᮣ FIGURE 5.1 Without even looking at the title, you can identify this familiar object because of the shapes used. In what way is this work “larger than life”?
and depth. Each eye sees an object from a slightly different angle. The brain merges these two separate and slightly different views into one, creating a three-dimensional image. To see how this works try the following experiment. Close your right eye. Point to a specific spot in the room. Without moving your pointing finger, open your right eye and close your left Shape and eye. It will appear that you have Point of View moved your finger, even though you know you have not. Creating Visual
ARS, NY. 146 CHAPTER 6 Color ᮡ FIGURE 6.16 Color triads. ᮡ FIGURE 6.17 Even though this painting is based on the primary triad, it is very comfortable to view. How has the artist organized the colors to make this painting easy to look at? Fritz Glarner. Relational Painting, Tondo #40. 1955–56. Oil on Masonite. Diameter: 111.8 cm (44Љ). Walker Art Center, Minneapolis, Minnesota. Gift of the T. B. Walker Foundation, 1956. ᮡ FIGURE 6.18 Split complement. Split Complements A split complement