&object0=js|800|600|80|80|0|0|100|0|15|0|0|background_style1.jpg|1|0|0|0& &autoPlayOn=0& &navobjectsVisible=1& &numberOfSlides=9& &numberOfObjects1=6& &object1_1=t|528|100|100|100|60|7|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Elements of this Art Form& &object1_2=js|600|380|94.4|94.4|48|61|80|0|15|4|1|pollack_greyness.jpg|1|0|0|0& &object1_3=t|139|100|100|100|97|89|100|0|0|left|1|2|2|0|0|40|0|0|1|2|Line& &object1_4=t|325|100|100|100|172|147|100|0|0|left|1|2|2|0|0|40|0|0|1|2|Color cx26 Value& &object1_5=t|204|100|100|100|143|227|100|0|0|left|1|2|2|0|0|40|0|0|1|2|Texture& &object1_6=t|391|100|100|100|237|298|100|0|0|left|1|2|2|0|0|40|0|0|1|2|Size cx26 Proportion& &numberOfObjects2=9& &object2_1=t|410|100|100|100|60|9|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Element of& &object2_2=t|96|100|100|100|390|1|100|0|0|left|1|2|2|0|0|22|0|0|1|2|LINE& &object2_3=r|239|41|100|100|380|170|70|0|2|1|2& &object2_4=r|271|41|100|100|65|170|70|0|2|1|2& &object2_5=t|271|100|100|100|65|170|100|0|0|center|1|15|4|0|0|16|0|0|1|0|Lines which are vertical/horizontal have a feeling of ORDER cx26 UNITY. & &object2_6=js|875|722|25.4|25.4|87|215|100|0|0|1|1|Vlaminck_Chatou_RedTree.jpg|1|0|0|0& &object2_7=t|574|100|100|100|58|52|100|0|0|left|1|2|4|0|0|18|0|0|5|2|As in photography, a line is a mark made by a moving point which directs the viewer’s eye and can be horizontal, vertical, diagonal, curvy, zig-zaggy, etc. Line occurs as either actual, obvious lines OR the borders/edges of shapes.& &object2_8=js|139|185|100|100|430|215|100|0|0|1|1|diagonal_lines_painting.jpg|1|0|0|0& &object2_9=t|228|100|100|100|384|170|100|0|0|center|1|15|4|0|0|16|0|0|1|0|Diagonals are more dynamic and suggestive of MOVEMENT.& &numberOfObjects3=9& &object3_1=t|546|100|100|100|60|9|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Element of& &object3_2=t|232|100|100|100|390|1|100|0|0|left|1|2|2|0|0|22|0|0|1|2|COLOR cx26 VALUE& &object3_3=r|290|162|100|100|335|251|70|0|2|1|2& &object3_4=r|290|140|100|100|335|67|70|0|2|1|2& &object3_5=t|271|100|100|100|344|72|100|0|0|center|1|15|4|0|0|16|0|0|1|0| is the result of wavelengths of light reflecting off objects. Objects absorb certain wavelengths and reflect others. The human eye sees the reflected wavelengths as hues, or color: most simply red, orange, yellow, green, blue, violet and red. & &object3_6=t|267|100|100|100|345|265|100|0|0|center|1|15|4|0|0|16|0|0|1|0| is the lightness or darkness of a color, or hue. Even a subtle change in value can define a shape AND SEND A MESSAGE. Learning to see and manipulate the value of a color strengthens an artist’s ability to control shapes and forms to guide the viewer’s eye through the painting.& &object3_7=js|399|343|69.8|69.8|50|117|100|0|0|0|1|Tone_and_Hue_chart.jpg|1|0|0|0& &object3_8=t|91|100|100|100|345|63|100|0|0|left|1|11|2|0|0|18|0|0|1|0|COLOR& &object3_9=t|91|100|100|100|340|256|100|0|0|left|1|11|2|0|0|18|0|0|1|0|VALUE& &numberOfObjects4=6& &object4_1=t|546|100|100|100|60|9|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Element of& &object4_2=t|232|100|100|100|390|1|100|0|0|left|1|2|2|0|0|22|0|0|1|2|COLOR cx26 VALUE& &object4_3=r|241|343|100|100|42|77|70|0|2|1|2& &object4_4=t|227|100|100|100|51|81|100|0|0|left|1|15|4|0|0|16|0|0|1|0|The top image is a grey-scale copy of the “real” color painting. Notice what you can see in the upper right-hand corner. The artist has used a soft or light Value/Hue for the yellow upper shape and the orange lower shape just below it – – – DO YOU SEE HOW THESE BLEND TOGETHER IN THE UPPER IMAGE? Changing the Value of one of those colors would alter this blended effect. The artist can make a choice!& &object4_5=t|73|100|100|100|532|34|60|1|6|center|1|2|1|0|0|10|0|0|0|1|continued& &object4_6=js|395|400|86.1|86.1|287|75|100|0|0|1|1|ToneRange.jpg|1|0|0|0& &numberOfObjects5=10& &object5_1=js|600|380|101.2|101.2|25|50|40|0|6|1|0|pollack_greyness.jpg|8|0|0|0& &object5_2=t|467|100|100|100|60|9|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Element of& &object5_3=t|232|100|100|100|390|1|100|0|0|left|1|2|2|0|0|22|0|0|1|2|TEXTURE& &object5_4=t|535|100|100|100|77|82|100|0|0|left|1|2|4|0|0|16|0|0|1|2| - For smooth and even textures, you can use swift brushstrokes with soft bristles. For a rough texture, brush stokes are hard, broad and impulsive. Dry brush and wet brush techniques are also used for different textures. Brushing with heavy colors creates a heavy texture, while mild textures can be done by gliding the brush smoothly. Shading is one of the most important aspect of building texture in the painting. & &object5_5=t|103|100|100|100|80|76|100|1|17|left|1|15|2|0|3|14|0|0|1|0|Brushstrokes& &object5_6=t|534|100|100|100|38|47|100|1|17|left|1|15|1|0|0|14|0|0|1|2|The areas on which you can focus to affect Texture include:& &object5_7=t|535|100|100|100|77|217|100|0|0|left|1|2|4|0|0|16|0|0|1|2| - A rough canvas or recycled paper gives different effect than smooth papers. You can choose to paint on glass, wood, walls, rags, newspaper, carpet, other found objects, and any sort of surface to affect texture. & &object5_8=t|535|100|100|100|77|312|100|0|0|left|1|2|4|0|0|16|0|0|1|2| - Acrylic paints, oil paints, fabrics and water colors are different forms of media used to create texture. Adding coats, scraps of material, spraying instead of brushing, splattering paint, stamping, applying tissue paper, washing with other chemicals/solutions (be careful!). You can apply tea leaves, salt, pasta, egg shell, sand, sugar, rice, etc. - Or you can paint with “non-brush” tools (putty knives, fingers, sticks, leaves, etc.)& &object5_9=t|131|100|100|100|80|210|100|1|17|left|1|15|2|0|3|14|0|0|1|0|Painting Surface& &object5_10=t|181|100|100|100|80|304|100|1|17|left|1|15|2|0|3|14|0|0|1|0|Paint cx26 Painting Tools& &numberOfObjects6=13& &object6_1=t|467|100|100|100|60|9|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Element of& &object6_2=js|1024|681|18.1|18.1|151|92|100|0|0|1|0|painting_texture_thicktothingreen.jpg|1|0|0|0& &object6_3=js|517|456|28.3|28.3|389|89|100|0|0|1|0|painting_texture_sandgelonmaterial.jpg|1|0|0|0& &object6_4=t|232|100|100|100|390|1|100|0|0|left|1|2|2|0|0|22|0|0|1|2|TEXTURE& &object6_5=t|170|100|100|100|159|402|100|1|2|center|1|17|4|0|3|12|0|0|1|2|Van Gogh, Starry Night& &object6_6=t|73|100|100|100|454|35|60|1|6|center|1|2|1|0|0|10|0|0|0|1|continued& &object6_7=r|480|34|100|100|96|54|85|0|2|1|2& &object6_8=t|472|100|100|100|96|54|100|0|0|center|1|6|4|0|0|14|0|0|1|0|In general, smoother textures are passive, decorative, and spatially static, while rough textures are active, emotive, and spatially dynamic.& &object6_9=r|389|27|100|100|150|225|85|0|2|1|2& &object6_10=t|384|100|100|100|151|230|100|0|0|center|1|6|4|0|0|14|0|0|1|0|Notice the difference in texture in these famous paintings:& &object6_11=js|449|358|41.1|41.1|151|254|100|0|0|1|0|painting_texture_vangogh_starrynight.jpg|1|0|0|0& &object6_12=js|627|455|31.9|31.9|337|255|100|0|0|1|0|painting_texture_dalitime.jpg|1|0|0|0& &object6_13=t|170|100|100|100|352|402|100|1|2|center|1|17|4|0|3|12|0|0|1|2|Dali, Persistence of Time& &numberOfObjects7=12& &object7_1=t|585|100|100|100|39|8|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Element of& &object7_2=t|257|100|100|100|364|-1|100|0|0|left|1|2|2|0|0|22|0|0|1|2|SIZE cx26 PROPORTION& &object7_3=t|550|100|100|100|80|53|100|0|0|left|1|2|4|0|0|16|0|0|1|2| - is the comparative relationship between two or more elements. With Painting, this can involve numerous elements, including size, color, value, types of shapes, quantity of objects, degree, setting, etc. Proportion is about the sizing and distribution of those element or other objects. & &object7_4=t|91|100|100|100|80|44|100|1|6|center|1|16|2|0|5|14|1|0|1|0|Proportion& &object7_5=t|534|100|100|100|80|298|100|1|17|center|1|15|1|0|0|14|0|0|1|2|Height, Width, Depth& &object7_6=t|550|100|100|100|80|144|100|0|0|left|1|2|4|0|0|16|0|0|1|2| - is also about the TOTAL DIMENSIONS of your art work, or the overall size of the “canvas.” When deciding on this type of size for your work, make sure to align your decision with principles (Emphasis, Balance, Unity, etc.) AND also with your purposes or reasons for making the art. (Is your message “BIG”?) & &object7_7=t|520|100|100|100|87|243|100|0|0|center|1|1|4|0|0|14|0|0|1|0|When PROPORTION is applied WITHIN a painting (regardless of the painting’s total size) it is often focused on relationships of the size of one element compared to the size of another related element. This can involve planned differences between:& &object7_8=t|52|100|100|100|80|136|100|1|6|center|1|16|2|0|5|14|1|0|1|0|SIZE& &object7_9=t|534|100|100|100|80|321|100|1|17|center|1|15|1|0|0|14|0|0|1|2|One area of the surface compared to another area& &object7_10=t|534|100|100|100|80|345|100|1|17|center|1|15|1|0|0|14|0|0|1|2|The spacing of differences in an element (rough vs. smooth textures in the work)& &object7_11=t|534|100|100|100|80|385|100|1|17|center|1|15|1|0|0|14|0|0|1|2|The spacing between objects (filled vs. empty space, for example)& &object7_12=js|822|501|7|7|28|244|80|0|15|1|0|curvyarrow_right.jpg|2|0|0|0& &numberOfObjects8=12& &object8_1=t|585|100|100|100|39|8|100|1|6|left|1|16|1|0|0|20|0|0|0|1|PAINTING - The Element of& &object8_2=t|257|100|100|100|364|-1|100|0|0|left|1|2|2|0|0|22|0|0|1|2|SIZE cx26 PROPORTION& &object8_3=t|101|100|100|100|370|238|100|1|6|left|1|16|2|0|5|14|1|0|1|0|Also Notice:& &object8_4=t|256|100|100|100|370|85|100|1|17|left|1|15|1|0|0|12|0|0|1|2|The Sky is 50cx25 of the space within the painting& &object8_5=t|178|100|100|100|106|72|100|0|0|center|1|1|4|0|0|14|0|0|0|0|An example of the effective use of size and proportion& &object8_6=t|242|100|100|100|386|363|100|0|6|center|1|16|2|0|5|12|0|0|1|0|The Message? ... Where are they going?& &object8_7=t|73|100|100|100|551|34|60|1|6|center|1|2|1|0|0|10|0|0|0|1|continued& &object8_8=t|256|100|100|100|370|131|100|1|17|left|1|15|1|0|0|12|0|0|1|2|Then, the Mountain is 50-66cx25 of the bottom half& &object8_9=t|256|100|100|100|370|177|100|1|17|left|1|15|1|0|0|12|0|0|1|2|Then, wagons, horses, people diminish in size& &object8_10=t|256|100|100|100|370|282|100|1|17|left|1|15|1|0|0|12|0|0|1|2|Two main lines that divide the painting are diagonal = ACTION& &object8_11=t|256|100|100|100|370|325|100|1|17|left|1|15|1|0|0|12|0|0|1|2|The color/value employs hue for a MESSAGE & &object8_12=js|249|247|113.4|113.4|62|110|100|0|0|1|1|proportion2.jpg|1|0|0|0& &numberOfObjects9=7& &object9_1=t|594|100|100|100|32|5|100|1|6|left|1|16|1|0|0|20|0|0|0|1|Making a PAINTING for Your Premier IN the Arts& &object9_2=js|600|380|94.4|94.4|48|61|50|0|6|4|1|pollack_greyness.jpg|1|0|0|0& &object9_3=t|543|100|100|100|60|74|100|0|6|left|1|2|4|0|-2|20|0|0|1|2|STUDY and research the elements of painting that have been presented here, then look for others in your own research.& &object9_4=t|543|100|100|100|60|133|100|0|6|left|1|2|4|0|-2|20|0|0|1|2|DECIDE how you can focus on the Principles by using the elements. Try to blend your manipulation of the elements to achieve the principles you have selected.& &object9_5=t|543|100|100|100|60|211|100|0|6|left|1|2|4|0|-2|20|0|0|1|2|PLAN your work– schedule extra time to paint. Keep notes, especially when things DON’T go as planned.& &object9_6=t|543|100|100|100|60|268|100|0|6|left|1|2|4|0|-2|20|0|0|1|2|When you have made the art work, work on your presentation. TELL THE STORY of your journey (word process it for online submission).& &object9_7=t|543|100|100|100|60|344|100|0|6|left|1|2|4|0|-2|20|0|0|1|2|PREPARE how you will show your work. You can project it in the classroom, but it may be best to frame it for viewing when you present to the class.&