2. What does the term ELEMENTS of ART mean? The ELEMENTS of ART are the building blocks of art. LIST & define the SEVEN ELEMENTS OF ART.

3. Elements of Art Beside each element write the definition in your own words. Line Shape Form Space Value Color Texture

4. Hue the name of the color itself. They have values from light to dark. Color Created when light is reflected off of a surface. We see the reflected light and our eyes convert it to color. Tint a lighter value– made by adding white to the hue. Shade a darker value– made by adding black to the hue. Intensity the brightness of the hue. Can be changed by changing the value or adding another color to it. Value the lightness or darkness of a color The PROPERTIES OF COLOR:

5. Color Color comes from light, either natural or artificial. What happens to color in low light? What happens to color in bright light? Ellen Phelan, Light in a Far Field, 2001. DULL COLORS COLORS POP- APPEAR BRIGHTER

6. Color Color is produced by the way our vision responds to different wavelengths of light. When a ray of white light (such as sunlight) passes through a glass prism, the ray is bent, or refracted. This ray of light then separates into individual bands of color, called the spectrum.

7. Color Artists’ colors come from powered substances called pigments. These natural or chemical materials are combined with other materials to make the various paints, crayons, inks, and pencils commonly used by artists.

8. The name of the color itself. They have values from light to dark. HUE RED YELLOW VIOLET

9. The lightness or darkness of a hue. VALUE + = HUE WHITE TINT TINT: Made by adding white to a color so that it is lighter. SHADE: Made by adding black to a color so that it is darker. + = HUE BLACK SHADE

10. INTENSITY The brightness or dullness of a hue. FUSCHIA - HIGH INTENSITY OLIVE - LOW INTENSITY Color is most intense right out of the bottle. Ways to change the intensity of a pigment: Change the value of the pigment. Mix the hue with another color (or it’s compliment) Create a TONE by mixing the hue with gray.

12. William H. Johnson, Going to Church, 1940-41.

14. The color wheel fits together like a puzzle - each color in a specific place. Being familiar with the color wheel not only helps you mix colors when painting, but in adding color to all your art creations.

15. The Color Wheel A GUIDE TO STUDY HOW TO CHOOSE AND COMBINE COLORS

16. NEUTRALS (NOT REALLY COLORS) White Black Gray Beige

17. NEUTRALS Neutrals don't usually show up on the color wheel. Neutrals include black, white, gray, and sometimes brown and beige. They are sometimes called “earth tones.” There are a few different ways to make neutrals. You can blend black and white to make gray. You can create brown in two way: Blending two complementary colors together Blending all three primary colors together. In Snow in New York, Robert Henri uses many different neutrals. You can see a few glimpses of red paint, but the overall effect is of natural browns, whites and grays--like those you might see in rocks, sand, dirt, or clay. Snow in New York by Robert Henri

18. Color is like Music The selection and use of color has been of primary importance to artists over the centuries. Like music, color can be used in pleasing chords and many artists have gone so far as to assign particular notes to each color. Like music, there are several primary chords that are universally accepted as harmonic: – Complementary, – Analogous (Warm, Cool), – Monochromatic – Neutral Richard Cramer, Redbank

19. PRIMARY HUES Pure and basic Cannot be made from any other colors All other colors are made from these Equal distance from each other on color wheel RED YELLOW BLUE

20. PRIMARY HUES PRIMARY COLORS RED, YELLOW, BLUE

22. Primary Colors Boogie Woogie By Piet Mondrian

23. Roy LICHTENSTEIN (1923-1997) Untitled 1974 Silkscreen 82/100 113 cm x 90 cm Tehran Museum of Contemporary Art Primary color scheme

24. PRIMARY HUES Pure & Basic Cannot be made by mixing other colors. RED, YELLOW, BLUE

25. SECONDARY HUES MIXING A PRIMARY + ADJACENT PRIMARY ORANGE= Red + Yellow GREEN= Blue + Yellow VIOLET= Red + Blue

27. Tertiary / Intermediate HUES A PRIMARY mixed with a SECONDARY red- violetred- orange Yellow-orange Yellow- green Blue- green Blue-violet

28. Pablo Picasso, The Old Guitarist, 1903 This work is from Picasso’s Blue Period, which was, in part, an outgrowth of the suicide of a close friend. What aesthetic experience do you get from this painting? How does hue help emphasis this?

29. PRIMARY HUES Pure & Basic Cannot be made by mixing other colors. RED, YELLOW, BLUE

30. SECONDARY SCHEME MIXING A PRIMARY + ADJACENT PRIMARY ORANGE= Red + Yellow GREEN= Blue + Yellow VIOLET= Red + Blue

31. TERTIARY SCHEME A PRIMARY mixed with an adjacent SECONDARY red- violetred- orange Yellow-orange Yellow- green Blue- green Blue-violet

32. COMPLEMENTARY SCHEME Colors directly across from one another on the color wheel

33. COMPLEMENTARY SCHEME Colors directly across from one another on the color wheel. Examples: Red AND Green Blue AND Orange Yellow AND Violet Complements are one of the most common harmonic color schemes and can provide a beautiful array of subtle variations. Complements are most pleasing to the eye when one of them dominates and the other is featured as an accent.

34. Andy Warhol Elvis I and II 1964 silkscreen on acrylic, on aluminum 208.3 x 208.3 cm Complementary Color scheme Complementary colors: colors opposite each other on the color wheel Red/GreenOrange/BlueYellow/Violet

35. COMPLEMENTARY COLORS Red and green are an example of complementary colors. Look at the painting Carnation, Lily, Lily, Rose by John Singer Sargent. The reddish-pink color of the flowers really stands out against the green background. Imagine if Sargent had painted all yellow or blue flowers instead. They would just blend in with the green (ho-hum). Carnation, Lily, Lily, Rose by John Singer Sargent

36. Which green looks brighter? Why? The green next to the red appears brighter because red and green are complementary colors. When complementary colors are placed side by side or used together in an artwork they intensify one another and appear brighter. When complementary colors are mixed together they neutralize or make a brown. The BEST brown is made by mixing red and green.

37. Complementary Zing Complementary Colors are capable of creating two opposite effects: 1.placed next to each other, they make each other more exciting. For example, to bring out the zing in a dull orange, just try putting pure blue right next to it – both become vivid! 2.mixed with each other, the complement makes the first color darker, duller. So when you want to show a darker side to an object, you can create this shading with the color's complement. In the example the violet has been tempered with its complement, yellow. Wayne Thibaud, Untitled, Pear with Strawberry Wolf Kahn, Yellow Square

38. Complementary Shadows When light falls on an object the shadow is generally the complement of the color of the light. Our sun is yellow so we prefer to use purple as a shadow color. The light at sunset is orange and pink at sunrise. You can use complements in your art to great effect at those times.

39. MONOCHROMATIC COLOR SCHEME A monochromatic scheme consists of different values (tints and shades) of a single color. A SHADE of a hue is made by mixing black with the hue. A TINT of a hue is made by mixing a hue with white. Monochromatic Scale

40. SPLIT-COMPLEMENTARY COLOR SCHEME A split-compliment color scheme includes a main color and the two colors on each side of its complementary (opposite) color on the color wheel. An example of a split- compliment color scheme could be green, red-violet, and red- orange.

41. TRIADIC COLOR SCHEME A triadic color scheme uses colors at the points of an equilateral triangle (three colors spaced equally on the color wheel). An example of a triadic color scheme could be red, blue, and yellow; green, orange, and purple, etc.

42. ANALOGOUS COLORS These colors are 3-4 colors located next to each other on the wheel, such as: Blue, Blue-green, Green Red, Red-Orange, and Orange Analogous Analogous colors also have a dominant color temperature.

43. ANALOGOUS COLORS Orange, yellow-orange, and yellow are also examples of analogous colors. They are blended nicely in Sunflowers, a painting by Vincent Van Gogh. How do you know that these colors are closely related? They share a color—each of them contains some yellow. Sunflowers Vincent Van Gogh

44. WARM COLORS o Appear hot like the sun or like fire o Give feelings of gaiety, activity or cheerfulness o Appear to advance-they make body look larger o Can give a nervous impression if overdone

45. The Wolf River, Kansas Albert Bierstadt c.1859 Oil on canvas 48 1/8 x 38 1/8 inches (122.5 x 97.1 cm) The Detroit Institute of Arts, Detroit, USA Warm color scheme

46. COOL COLORS o Remind us of water or sky o Give feelings of quietness or restfulness o Appear to recede and make body look smaller o Can be depressing if overdone

47. Color evokes mood Cool color scheme Pablo Picasso, The Tragedy, 1903, oil on wood, 1.053 x.690 m (41 7/16 x 27 3/16 in.), National Gallery of Art, Washington,

48. Warm Colors In The Fighting Temeraire by William Turner, the warm colors of the sunset give a feeling of brightness and heat. Look at the red spreading from the setting sun and the deep golden glow on the water. If you're feeling cold, looking at colors like these can actually make you feel warmer! The Fighting Temeraire by William Turner

49. Warm Colors The Walk, Lady with a Parasol by Claude Monet In this painting by Claude Monet, The Walk, Lady with a Parasol, the cool colors of the ground and sky contributes to the peaceful feeling of the painting. Imagine how different the painting would look with a bright red sky—it might seem more exciting or energetic than restful.