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Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC C: LUMINANCE AND EQUILUMINANCE Key understanding In the brain, the brightness (black and white) and the colors of a scene are processed separately. This can create some curious effects, for example, in equiliminant scenes, we lose a sense of position. Another phenomenon is that if the brightness is accurate, the colors can be dramatically altered, affecting the mood of a scene. Possible tasks and questions How do artists influence our vision by using the technique of “equiluminance”? Discuss the question in reference to three works of art. How did Leonardo da Vinci’s chiaroscuro ... http://www.webexhibits.org/colorart/teaching4.html · 8.4k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC D: PERIPHERAL VISION Key understanding Understand how our sensitivity to detail varies from the center of our vision to the edges, and also depending on the speed of a scene. Therefore, paintings that incorporate blur can seem more realistic. Possible tasks and questions How can artists use peripheral vision to focus on what is important in a painting: say a portrait? What are the important features of a portrait? (Notice the ‘plural’.) How have contemporary artists questioned our logical understanding of painting as a stable object? How have artists used our peripheral vision in ... http://www.webexhibits.org/colorart/teaching5.html · 7.9k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC B: COLOR INTERACTIONS: SIMULTANEOUS CONTRASTS Key understanding Certain colors (Red & Green, Blue & Yellow) are opposites. They appear to enhance each other when they are juxtaposed. It a light is colored, often we sense the opposite of a color in the shadow. Artists make use of both of these aspects of “complementary colors” A few further definitions to help clarify terms used: Hue: It is what we think of when envisaging color. Primary colors: Red, Yellow, Blue. By the late 19c on, white and black were generally viewed as ‘non-colors’. Complementary Colors: The two opposite primary ... http://www.webexhibits.org/colorart/teaching3.html · 11.0k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC A: LIGHT, COLOR AND VISION Key understanding Our ability to respond to colors is the result of a complex process that can be understood by studying what takes place in the rods and cones of the eye. Many scientists and artists have studies color and light, developing color theory. Our vision is also affected by different qualities of paints such as egg tempera and oil color, influencing on the brightness of colors, color contrasts and depth of artworks. Possible tasks and questions What do the following terms mean? Hue Saturation Luminance Discuss the development of color theory. ... http://www.webexhibits.org/colorart/teaching2.html · 8.0k |
Getting Started: How Can This Exhibit Help? Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Getting Started: How Can This Exhibit Help? About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Getting Started: How Can This Exhibit Help? This online exhibit informs students about another dimension, revealing some secrets of vision to art and art history students, and reminding science students that there is more to science than charts and graphs. This exhibit can be used in several levels of education, particularly High School and post-secondary classes. Here’s what what you get… Aims This exhibit aims to: Introduce students to the key concepts underlying the perception of color and vision, especially in relation to the art of 19th, 20th and 21st centuries Introduce and discuss a number of important artworks and their relation to color theory since the 19th century ... http://www.webexhibits.org/colorart/teaching1.html · 8.8k |
Applying the Paint and the Technique of Color Modeling Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Applying the Paint and the Technique of Color Modeling Introduction Color theory Paints African Art 19th cent 20th & 21st cent Tempera & oil The paints Appearance Optics font size: a a a Applying the Paint and the Technique of Color Modeling The artist’s choice of paint affects both the technique of painting and how well a painting endures over time. Egg tempera Wilton Diptych (detail), Unknown Artist, 1395-99 Egg tempera on wood Egg tempera The Wilson Diptych is a small folding altarpiece, which is presumed to have been commissioned by King Richard II of England for his private devotions. The king is portrayed kneeling in prayer and being presented by three Saints to the Virgin and Child. Although the identity of the artist is unknown, the use of egg tempera is associated with Italy and the style of the work is informed by Sienese art. On the other ... http://www.webexhibits.org/colorart/to3.html · 19.9k |
Leonardo da Vinci’s Chiaroscuro Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Leonardo da Vinci’s Chiaroscuro Introduction 15th & 16th cent 19th cent 20th & 21st cent Michelangelo da Vinci’s chiaroscuro Lost shadows font size: a a a Leonardo da Vinci’s Chiaroscuro Even in an era of boundless scientific discovery and technological invention, and of sublime artistic and humanistic achievement, Leonardo da Vinci (1452-1519) stands as a supreme icon in Western consciousness — the very embodiment of the universal Renaissance genius. Self Portrait, c. 1512. Leonardo da Vinci was the first artist to use value consistently across colors, achieving tonal unity in which a figure presents a single, swelling, homogeneously generated volume in contrast to the inevitably fragmented effects of color-modeling. Light, color and form are now related in a way that approximates, and describes, their scientific and naturalistic behavior. Benois Madonna ... http://www.webexhibits.org/colorart/vinci.html · 10.8k |
Bridget Riley and Op Art Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Bridget Riley and Op Art Introduction Color theory Paints African Art 19th cent 20th & 21st cent Modern art and vision Bridget Riley Richard Billingham font size: a a a Bridget Riley and Op Art White Disks, Bridget Riley, 1964. She wrote, “The uncertainties of a drawn structure increase when it is composed of similar, repeated elements. Because they are small and compacted, these elements begin to fuse while they are easy to separate when they are big.” Bridget Riley (1931) is a well-known British artist celebrated since the mid-1960s for her distinctive, optically vibrant paintings, called “Op Art.” She explores optical phenomena and juxtaposes color either by using a chromatic technique of identifiable hues or by selecting achromatic colors (black, white or gray). In doing so, her work appears to flicker, pulsate and move, encouraging the viewer’s visual ... http://www.webexhibits.org/colorart/riley.html · 9.1k |
Bibliography and Suggested Reading Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Bibliography and Suggested Reading About Credits Citations Teacher's Guide Bibliography Press font size: a a a Bibliography and Suggested Reading The study of art and the brain is a new field, with limited resources in print. Below are some of the most significant references for learning more, which are generally available. For a detailed listing of sources and references, see credits. Vision and Art: The Biology of Seeing by Margaret S. Livingstone is written for students, artists and designers, with lucid prose and easy-to-understand charts and diagrams. It nicely explains how the eye and brain translate different wavelengths of light into the colors and forms of the world around us, from the mysterious allure of the Mona Lisa to the amazing atmospheric effects of the Impressionists, as well as aspects of advertising and television. This exhibit is drawn ... http://www.webexhibits.org/colorart/bibliography.html · 12.4k |
Luminance Differences Affect Our Perceptions Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Luminance Differences Affect Our Perceptions Introduction 15th & 16th cent 19th cent 20th & 21st cent font size: a a a Luminance Differences Affect Our Perceptions Artists use the technique of “equiluminance” to blur outlines and suggest motion. We cannot perceive the edges of objects where object and background have the same luminance. If parts of a painting are equiluminant, their positions become ambiguous. They may seem to shift position or to float. Detail from Plus Reversed, Richard Anuszkiewicz, 1960. Equiluminant colors have special properties. They can make a painting appear unstable. Adjust the colors in the painting above. Somewhere in the middle (the exact point varies among computers), the shapes may appear jittery. The red and blue seem to move around because they are equiluminant. The “What” system sees the shapes because of the strong color ... http://www.webexhibits.org/colorart/anuszkiewicz.html · 8.1k |
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