środa, 14 lutego 2018

Syllabus

IB | VA
Course Syllabus

Instructor
Dorota Wnuczyńska     e: dorotawnuczynska@lo3.gdynia.pl     p: 692-828-775    r: 29G

Objective 
The objective of IB | VA is to offer an advanced curriculum of art technique and concept to juniors and seniors who are interested in the arts and wish to engage in an academically rigorous but overwhelmingly beneficial artistic experience. IB | VA is designed to test the limits of student creativity and instill the values of critique and analysis while building a rich and diverse body of work.

Expectations 
Expectations are very high in this course. As a two-year commitment, instructors will expect only the very best from students. A commitment to excellence on the part of the students will be required each and every day as there will be no room for anything less. 

COURSE STRUCTURE & ASSESSMENTThe IB standard places a variety of specific requirements on students in order to meet their rigorous demands. Actual assessment will be based on the following three requirements.
Comparative Study (20%)
A collection of research, investigation, and analysis comparing 3 or more works of art across time, culture, and method in order to determine the common threads that weave the history of the visual arts together.
More info.
Process Portfolio (40%)
A physical record of a student's progress through the course that includes sketches, images, annotation, written and typed analysis, technical studies, and a variety of other means by which process can be evidenced.
More info.
Exhibition (40%)
The completion, curation, and display of completed studio works.
More info.
In order to meet these requirements, Bay Port schedules IB courses over a span of two full years. The two-year system offers and immense amount of instructional time as well as the opportunity for two distinct learning styles and environments.
Year One
During Year One students will explore the philosophical and conceptual history of art. Through artists and thinkers over the past few millennia students will develop an understanding of how art has evolved through time and why artists make the decisions they did and do. Essential questions during Year I include: “What is art?”, “Who decides what is art?”, and “On what criteria is that decision based?”.

Assessment during Year I will be based on the following criteria:
  1. Quizzes: These will include general content and vocabulary.
  2. Process Portfolio Entries: Research, investigation, analysis, practice sketches, notes, etc.
  3. Studio Works: Lessons will often include a studio component in which students learn techniques and hone skills. Occasionally studio works will take the form of presentations and videos.
  4. Critiques: Each lesson will include opportunities for students to share feedback in order to best complete their given tasks.
  5. Reflective Essays: Students will be tasked with reflecting on their work and progress in the course.
For information on specific lessons and materials, click here.
Year Two
Year Two students will enjoy a greater level of freedom to explore their interests, styles, and inspirations. Students will use the background they developed during year one as a foundation for greater exploration and experimentation.

Assessment in Year II is based on following criteria:
  1. Process Portfolio Entries: Research, investigation, analysis, practice sketches, notes, etc.
  2. Studio Works: Approximately 8-12 completed studio works will be required by IB for final submission. At least twice this many should be completed so that students can carefully curate their submissions.
  3. Curation: Essential to properly displaying artwork is knowing what to display and why.
For information on specific rubrics, concepts, and materials, click here.

Appropriate Content
All content will be subject to the school's policy on appropriate content. Work deemed offensive, vulgar, profane, or otherwise "inappropriate" will not be displayed and therefore not graded. Any decision on this matter will be that of the instructor, perhaps through communication with other faculty or administration. To that end, all project ideas and concepts should be discussed with the instructor prior to the student beginning the project in order to avoid any confusion/consequences later on.

Taking Work Home/Outside the Room
All students are granted ample storage space in the room in order to keep work safe and present when needed. However, no student is confined to the room. Any student who wishes to work from home after school will assume the risks associated with that decision. Work damaged or destroyed will be the responsibility of the students. In the event of a "total devastation," the student may be required to start over.

Open Studio
Wednesday evenings after school an open studio is available to all students, currently in the form of an "Art Club." Art Club is not a club at all. It is an open studio that offers the opportunity to work outside of normal class hours. This time can be used to finish projects for class or create something entirely new. All art students are encouraged to take advantage of this opportunity in order fully benefit from their art experience. However, attendance is not required in any way. Furthermore, there is no sign up or official registration. Students are simply encouraged to show up and get something done. Hours are currently from the end of 12th period until no later than 6pm. Ending times will often be agreed upon by the instructor and students currently in attendance that day. Most evenings go until 4:30.

Furthermore, the Ceramics Lab, B102, is available to all of the instructor's students any period of the day, including during another class, but except the instructor's lunch period, every day, in order to provide students with the most amount of time possible to complete projects.

Classroom Expectations
Students enrolled in Richardson's art courses are required to meet the following expectations. An adherence to these expectations in necessary in order to build and maintain a positive working environment, as well as to grow and develop as artists.

-Be on time.
-Be on task. All hour, every day.
-Don't screw around..
-Limit conversation to those immediately surrounding you.
-Show respect for course materials.-Show respect for Richardson's personal space and things.
-Clean Up.
-Put all materials back where they were found. NOTHING GOES IN THE SINK so nothing should be LEFT IN THE SINK.

Classroom Privileges
The following privileges are offered to all of Richardson's students by virtue of simply enrolling in the course. These privileges are designed to encourage a generally positive environment in the hopes of developing and maintaining a positive working environment. All privileges are subject to revocation without notice.

-Conversation.
-Use of personal music and headphones.
-Free use of laptop.
-Eating & drinking.
-Use of hall pass (One out at a time).
-Control of the stereo.
-Use of cell phones AFTER clean up.
-Use of couch.
-Custom seating chart.

Participation
Students are expected to arrive on time each day. Upon arrival, students are expected to get their work out and begin. With only 45 short minutes to work each day, there is no time to waste waiting for the instructor to greet the class and tell them to work. All students are expected to have work each day. Days spent without work, or between projects for example, should be spent researching and planning another. This expectation extends from the beginning of the semester to the end, regardless of a students' completion of the minimum requirements for the course. Students are expected to conduct themselves appropriately in the art room. This should go without saying. However, for the sake of clarity, a few examples of unacceptable behavior include swearing, horse-play, throwing objects, and showing disrespect for fellow classmates and the instructor. Any behavior contrary to these, but not limited to these, will face consequences.

Hall passes will be limited to student planners or other student supplied written notes. No "hall pass" material will be provided by the instructor and students are required to fill the pass with all necessary info before the instructor will sign. No students will be permitted outside of class without prior written approval. Students in violation of this requirement will not be allowed admission upon their return and the formal detention process will be initiated and filed with the office.

Consequences
Unacceptable behavior will be dealt with case by case and in accordance with school policy. All tardies will result in detention with the instructor during lunch or after school the day of the tardy. If this is not possible due to student transportation schedule an official detention slip will be filed with the office to be served at a later date agreed upon by both student and instructor. If detentions are not served, and/or tardies become regular to the point of habitual, an official student referral will be filed with the office. This course of action should be considered normal for all infractions of the behavioral expectations listed above.

All detentions are to be served with the instructor in the ceramics lab, B102 at a time agreed upon by both student and instructor. Most detentions will require the student to complete a specific task. Upon completion, the students' detention is considered served and no further action will be taken.

Artistic Integrity 
As always, students are prohibited from copying work from any copyrighted source. Further, students are prohibited from accepting credit for material that is not their own either in concept or in completed form. All students are held to the highest standards of creative ownership. Any work deemed in violation of this policy will not be accepted towards the final portfolio submission.

To begin...

There is a lot of ground to cover in this class. We will begin with a bit of housekeeping. In general there are few things to keep in mind: Each lesson includes a reading, a quiz on that reading, a series of screens designed to strengthen your understanding of the material, and a piece of studio artwork based on those screens.

All work will be submitted for assessment on Schoology, and posted to your personal website for public display.

​
Syllabus

Please read the entire class syllabus on your own time. We'll breeze through it in class but understanding the design of the course is critical to your success in it.

Photography

Review the Artwork Photography page for information on photographing artwork for digital submission. All works will be submitted digitally for final assessment.

Process Sketchbook

Each 3D|AP and IB|VA student gets a hardbound sketchbook. This book is extremely important. Not only will you be keeping track of ideas, research, notes, and sketches, but you'll also be using this journal as part of your Process Portfolio, a heavily assessed record of the development of your work. You are required to maintain this journal, to paste images, take notes, produce sketches, and generally maintain a record of your thoughts, ideas, and general workflow as you progress through the course. When you receive your sketchbook, write your name inside the front cover, as well as contact info. You don't want to lose this thing.

Schoology

Schoology is the online home base for this course. Here you can keep track of your completion of the course activities, take quizzes, and generally navigate lessons.

Website

There are a number of high-quality free web development sites these day. I recommend either Weebly (I use Weebly for this site) or Wix. Choose a site, or find another, and create an account, and a personal website. It can be called whatever you like, but it must be specifically for IB Visual Art (or, if you find yourself making sites in other courses, use that one but make a tab specific to IB Visual Art). We'll go through basic site development in class. Only a couple of days of classtime will be devoted to this though so some degree of work will be required on your own time.

Your Website MUST:
  • Have a tab/drop down for each lesson.
  • Have within each lesson a space for posting screens.
  • Have within each lesson a space for posting finished studio works.
  • Be easily navigable so that I can find your materials.
  • Have only personal images/photography. DO NOT USE THE PHOTOGRAPHY/IMAGERY THEIR TEMPLATES PROVIDE.

piątek, 19 stycznia 2018

IDENTITY. Portrait.


FILM


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

HOW ARTISTS EXPLORE IDENTITY



 
Autoportret z wykorzystaniem techniki wybranego artysty.

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 

SKETCHBOOK
- analiza formalna i kolorystyczna portretu wybranego artysty
- studium światłocienia w portrecie (ilustracje elementów twarzy)
- kompozycja (zdjęcia w różnych ujęciach wraz z ilustracją ołówkiem)

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

At its essence, a sketchbook page should provide insight into a student’s ideas and intentions, as well as revealing the influence of other artists. This A Level Art sketchbook page is beautiful in its simplicity: devoid of all superfluous decoration, it shows a dedicated and committed student learning a technique from an artist and then carefully applying this to original artwork.:
portret - Jonathan Yeo
Art for Doe: Art Workbook:
portret


Marion Bolognesi Artist research page by Brandon Fong:
portret - Marion Bolognesi

GCSE Artist research page analysing portraiture and eyes:
portret

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 

http://www.nga.gov/content/ngaweb/education/teachers/lessons-activities/self-portraits.html 

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 


 

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

https://prezi.com/_utciq0bz5df/self-portrait-art-history/ 

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

https://prezi.com/ed2rt7ogp06s/gcse-art-and-design-identity/

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 




SPIRITUALITY. Masks.

Masks are a part of human culture for centuries. They were used for sacred purposes and for profane, sometimes in the same time. They also had more or less practical use.

https://www.metmuseum.org/connections/masks#/Feature/ 
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -




African culture used masks in rituals from the earliest days of human civilization. They are the most commonly used for purpose of communicating with spirits and bringing them in our plane.





 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Japanese Masks

Traditional Japanese masks are used in theater, festivals or rituals. They are connected to folk myths and tails. Masks represent people, creatures, devil, ghosts, and animals. Some of the Japanese traditional masks are Gigaku, Bugaku, Gyodo, Tengu, Kappa, Noh, Kyōgen, Shinto, Kagura, Kitsune, Hyottoko, Oni, Kabuki, Samurai, Kendo and Animegao masks.

History of Egyptian Masks

Ancient Egypt had a characteristic relation with masks. Because of ubiquity of religion and its mysteriousness masks were practically used as a method for transformation from mundane to the divine. Read more about history of Egyptian Masks.

History of Dance Masks

Topeng dance is one of many applications of masks in the human life. It is a traditional dance drama that is played in Indonesia and tells a variety of stories. Read more about topeng dance history and facts.

History of Korean Masks

Korean masks have colorful and interesting history. From shamanic tools to theatrical props, they were unavoidable parts of life in Korea. Find more about korean masks and how they were used.

History of Venetian Masks

One of the things for which the Venice is famous is Carnival in Venice. One of the things Carnival in Venice is famous are masks. Learn more about history of Venetian carnival masks.

History of Chinese Masks

Chinese masks are one of the major characteristics of Chinese culture and have important place in it. Their history is long and they are still used today in almost the same roles they had for thousand years. Read more about chinese masks history and facts here.



- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

HOW ANCIENT ART INFLUENCE MODERN ART?




- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -


 ANOTHER FUNCTION AND PURPOSE OF MASKS




 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
BEHIND THE MASK




- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
 ANALIZA DZIEŁA SZTUKI I PORÓWNANIE

Female (pwo) mask (Chokwe peoples)


https://c1.staticflickr.com/1/537/18999342243_73085b3030_b.jpg


PICASSO, 

'Panny z Avinionu'

Les Demoiselles d'Avignon.jpg

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 

źródło: 
http://www.historyofmasks.net/mask-facts/
https://pl.khanacademy.org/humanities/ap-art-history 

środa, 20 grudnia 2017

YOUR Theme

FINDYOUR THEME:

Theme: What does this mean?
To create meaningful art an artist needs to find a theme or topic with which they have a strong personal link. At this point in your IB course your theme can be broad and cover a wide range of subject matter (NATURE, MAN MADE, FASHION, BEAUTY etc) but it needs to be personally linked to you the artist. Think about what interests you. What fascinates you? What are you passionate about?
Some examples themes/motifs that you could choose from (but you are strongly encouraged to develop your own):
  • Metamorphosis – life cycles, change, alteration, transfiguration, mutation
  • Music – sound, making tone visible, music culture, what do music and art have in common?
  • Dance – movement, rhythm, repetition, physicality, meaning in gesture
  • Legend/mythology – ancient, primitive, modern, stories, archetypes, moral lessons, religion, ritual, social obligations
  • Nature vs. Science – current issues (bioethics) technology, how do we understand the world? Our place in the universe, limits of scientific knowledge, art and science, Cubism, Futurism, Orphism, etc.
  • Myself - diary, memories, esteem, place in the world, pride, shame, family, heritage, ethnicity, self-portrait, friends, loves, enemies.
  • Gender issues – male & female, role in society, in family, in evolution. Advantages/disadvantages of being one or the other. Stereotypes, cultural roles, sexuality, gender in politics, gender reversal.
  • Scale – close-up/magnified, objects blown out of proportion, large vs. miniscule, other worlds of scale, space, positive/negative, color and texture.
  • Other worlds – underwater, space, extraterrestrial, microscopic, imagination, computer/virtual world.
  • Animals – other life, instinctual, life cycles of, physical/spiritual power in, ecology, animals as symbols, cultural associations with animals.
  • Art and the senses – ways of knowing, art that smells, tastes, feels, etc. Art that appeals to alternative senses.
  • Cryptography – art as code, codes in life, symbols, signs, text, sense in nonsense, order, mathematics, key to understanding.
  • God/religion – creation, destruction, judgment, what is holy? Role of religion in society, metaphysics, personal sense of god, mercy, forgiveness, justification, sin, sacrifice.
  • Kitsch – what is kitsch? What is beautiful? What is not? Value, mass production, pop culture, your own personal sense of kitsch, aspects of society as revealed in its kitsch.
  • Graphics – use of line, color and composition to create a graphic identity, advertising, mass media, manipulation of imagery, the (blurred) line between what reality and the graphic representation.
  • Human anatomy – body, muscle, bone, skin, weight distribution, issues of beauty and human body, use/abuse of the body, skin (color?), aging, disease.
  • Dreams – meaning, analysis, associations, truth in, the bizarre, wish-fulfillment, imagery, Surrealism, the subconscious, Sigmund Freud. 
  • Chance – allowing chance to dictate art, automatic drawing, the Exquisite Corpse, Surrealism, Dadaism, kinetic art, image association.
  • Emotion – human feelings, expression, knowledge through emotion, emotional situations, culture and emotions, controlled/uncontrolled emotions, conveying emotion, color, line and shape and emotions, Expressionism, Fauvism, Abstraction.
  • Collection/series – repetition, repeated objects, objects in a series, objects that share something in common, distant vs. close relationships between objects, association.
  • Beauty/ugliness – what defines these? What constitutes the appealing or the repulsive? Manipulating materials so that they take on appealing/repulsive qualities.
  • “The Wedding”-  from the engagement ring to the sealing kiss
  • Architectural renderings-  showing (exploring) the interior and exterior space with a strong focus on light, perspective and structure
  • Exploration- using realistic and non-objective animals (stipple technique….a series of black and white ink drawings moving into color)
  • Portraits and the human form

  • Monkeys or primates
  • Junk yard still life
  • Tomatoes, from seed to fruit
  • Fantasy characters – gargoyles, fairies, dragons, etc. – convincingly rendered
  • Low riders
  • Circus life
  • My ancestry
  • Crime and punishment
  • Women in feminine roles
  • “Seven deadly sins”
  • “Things that make me smile”
  • Historical events
  • Reflections of images wherein the reflections are an emotional exploration (of literal reflections)
  • Instruments that make music
  • Icons w/in our society
  • Strength of women (Cindy Sherman, Barbara Krueger)
  • Dreams and dream images (Chagall, Dali)
  • Dance images (degas)
  • Struggle to find one’s self (identity)
  • Figure studies in strong lights/darks
  • Car interiors
  • Abstract portraits
  • Illustrate a classical character or story in a new or modern way (superemofriends)
  • Childhood memories and feelings
  • Evolution of an item as it deteriorates or decomposes
  • Portrait/figure distortions in color/shapes (ed paschke)
  • Personal or social issues
  • Cultural diversity – social issues (diego rivera)
  • Visual puns/hybrids (magritte)


Note that all the above consist of topics/motifs that can and should be EXTENSIVELY researched experimented with and reflected upon.
Your theme, whatever it is that you choose, should likewise be extensively researched and explored from as many angles as possible.


Filters
Approach your theme through a different “filter” – a way of considering your theme which can help you develop new ideas regarding your overall theme. Pick from the list below or create your own.  
  • Self (you, your identity, self image, self-esteem) or dark self (see C.G. Jung)
  • Family or ethnic group (not necessarily yours)
  • Science & Technology
  • Dreams/the surreal world,/alternate reality/questioning reality
  • Society/Public vs. Private
  • Gender issues/ Sexual politics
  • Capitalism/ (Free)Trade/Economic equality/Globalism
  • Epistemology (ie. how we know what we know)/TOK
  • Conflict/resolution/war/peace
  • Art/History/Art History/Interpretation
  • Origins/Beginnings/Endings/divisions in time
  • Age/Adolescence/Biological growth/evolution
  • Location
  • Power
  • Symbols/Systems of Meaning/Codes
  • Kitsch/Taste/Fashion
  • Story/Narrative
  • Humor/dark humor/
  • Shock/Horror/Ugliness
  • Any other suitable filter you might want to consider

List of Mediums

Painting
(these don’t necessarily have to be done on canvas-explore other surfaces)
Oil
Acrylic
Watercolor
Gouache
Tempera
Fresco painting
Murals
 
Drawing
(these don’t necessarily have to be done on paper-explore other surfaces)
Charcoal
Graphite
Pencil
Conte crayons
Pen and Ink
India Ink (with brush)
Chalk
Chalk pastels
Oil pastels
Color pencils
Markers
 
Printing
Screen-printing
Mono-printing
Block printing
Etching
Lithography
Spraypaint
Airbrush
 
Sculpture
Pottery
Ceramics
Terracotta
Wood carving
Balsa wood
Found objects
Assemblage
Installation art
Earth Art
Jewelry
Mosaics
Polymer clay
Paper
Plaster
PVC piping
Resin
Glass
  • Stained glass
  • Blown glass
Metal
  • Silver
  • Nickel
  • Copper
  • Wires
  • Aluminum foil
  • Bronze
Fiberglass
Wax
Stone
Soap
Marble
Concrete
Gelatine
Styrofoam
Relief sculpture
Ready-mades
 
 
Textiles
weaving
macramé
fashion design
batik
marbeling
stamping
 
Photography/Film/ Technology
Black and white
Digital
Photoshop
Graphic design
Video art
  • Animation
  • Clay animation
  • Stop motion photography

 
Other
Mixed media
Collage
Paper cutting
scrimshaw
fimo
gold leafing
glues
transparencies

Useful Vocab

Writing about a painting- a glossary of useful terms:
·    Gestural- A loose, energetic application of paint which relies on the artist’s movement to make expressive marks on the canvas. This is a supposed to be a very personal and unique way of working- almost like handwriting. Look at artist like Cy Twombly or Antoni Tapies for examples.
·    Glaze- (or wash)- a semi-transparent layer of thinned paint. Many traditional painters like Michelangelo made use of this technique to create the subtle tones of skin for fabric. For a modern use of the glazing techniques, look at the abstract, gestural paintings of Helen Frankenthaler. 
·    Impasto- a thick layer of paint, often applied in several layers with a brush or palette knife. Look at the dense, textual brushwork of paintings by artist like Gillian Ayres or Frank Auerbach.
·    Plein-aire- a painting which has been made outside, often quite quickly, to cope with changing weather, light effects etc. The Impressionist were the first artists to paint outdoors, rather than in their studios. Before this, however, many artists had sketched outdoors in preparation for painting, the oil sketched of Constable are an excellent example.
·    Pointillist- the use of many tiny dots of pure color which seems to ‘blend’ when seen at a distance. Georges Seurat’s work is the most famous example of this almost- scientific technique. Look at the work of Chuck Close and compare and contrast them to Seurat.
·    Scumbling- a thin glaze of paint dragged over a different color, so that both layers of paint can be seen, giving a luminous, glowering effect. Abstract painters like Mark Rothko made use of this technique.
· Sfumato- literally means ‘smoked’ in Italian; the use of heavy, dark tones to suggest mystery and atmosphere. Rembrandt’s late self-portraits are a superb example of this technique in practice.
·    Sketch- A quick painting, often made in preparation of the ‘final version’.
·    Brushwork- the way in which the artist used the brush to apply paint. Brushwork can be loose, energetic, controlled, tight, obsessive, repetitive, random etc.
·    Palette- 1. A tray used for mixing colors when painting. 2. The choice of in a painting i.e. ‘van Gogh uses a pure and vivid palette in his Arles landscapes”.
·    Tone or tonal- 1. The elements of lights and shadow in an artwork i.e. ‘Kathe Kollowitz’s etchings use strong, dense tones to create an intense, sorrowful mood’. 2. The range of tones within an artwork ie ‘Rembrandt’s later portraits use a very dark tonal range’.
·    Support- The surface that a painting or drawing is produced on. Support can be paper, card, wood, canvas, metal etc i.e. “Antoni Tapies’s paintings sometimes look as if they have been attacked. The support is often violently torn, ripped and stabbed into’.

Writing about Color- a glossary of useful terms:
o  Primary colors: red, yellow and blue. Primary colors can be used to mix a wide range of color. These are cool and warm primary colors.
o  Secondary colors: orange, green and purple. Secondary colors are mixed by combining two primary colors.
o  Complementary colors: pairs of opposite colors on the color wheel: green-red, blue-orange, and yellow-purple.  Complementary colors are as contrasting as possible (i.e. there is no yellow in the color purple). Painters like Andre Derain and van Gogh often made use of the contrast of complementary colors in their paintings.
o  Tertiary colors: A range of natural or neutral colors.  Tertiary colors are created by mixing two complementary colors together. Tertiary colors are the colors of nature: skin, plants, wood, etc.
o  Tones: are created by adding black to any color (i.e. maroon is a tone of red).
o  Tints: are created by adding white to any color (i.e. pink is a tint of red).
o  Palette: the choice of colors an artist makes.
o  Limited palette: the selection of only a few colors within an artwork; i.e. ‘In this drawing, Matisse has used a limited palette of ultramarine blues and purples to create a moody, subdued atmosphere.’
o  Broad palette: the use of a wide range of different colors within an artwork; i.e. Kandinsky’s paintings are instantly recognizable for their use of geometric shapes, but also for the broad palette of colors he employs.’
o  Tonal range: the range of tones in an artwork from light to dark. A wide tonal range would include all tones from white to black.  A narrow tonal range would include only pale tones, only mid tones or only dark tones; i.e. “Kathe Kollowitz’s etching make a powerful use of a narrow tonal range to create oppressive, dark images.’
o  Opacity: the density or thickness of a color used; if the color is strong and nothing can be seen beneath it, the color is said to be opaque. Acrylic and oil are often opaque.
o Transparency: thin, transparent color, with perhaps other colors, shapes and lines visible beneath it.  Watercolor painting typically uses transparent color.
Useful adjectives you might use when describing COLOR: Saturated, bright, pure, vivid, strong, harsh, dramatic, vibrant, brilliant, intense, powerful, muted, subtle, gentle, dull, soft, watery, subdues, delicate, gloomy, tertiary, faded, limited


Writing about cultural values attached to the arts
When the arts of the past are seen in museums, they are effectively detached from the life of the culture from where they originated. If you only see these art objects in books or photographs, it is very difficult to see them as a ‘real’ part of a living culture. To begin to understand the meanings of various arts had for the societies they came from, consider the following values:
oReligious values: Arts were often essential to the belief systems of many cultures; for example: statues of gods/deities, temples, icons, altarpieces, masks, music, dances etc.
oSocial Values: Arts often symbolize group identity and pride; for example: banners, headdresses, tattooing, flags, chants, anthems etc.
oPsycho-Emotional: Arts sometimes provided assurance of the continuity of life; for example: portraits, epic poetry, mythological tales, hymns etc.
oUseful or Practical Values- Art was often an integral aspect of functional objects, both in shape and decoration; for example: knives, pottery, lamps, buildings, etc
oSensual Values- Arts provided a direct source of sensual pleasure and perhaps and intrinsically aesthetics response; for example: textiles, clothing, sculptures, music etc.
oEducational Values: Arts were frequently a means of transmitting the values, attitudes and history of a culture; for example: cave paintings, frescos, illuminated manuscripts, epic poetry, historic drama, tribal dance etc.
oDecorative Values: Arts were frequently a means of transmitting the values, attitudes and history of a culture; for example; jewelry, wall-hangings, tapestries, clothing etc.
oCommunication Values: Arts reached the illiterate for whom the written word was meaningless; for example: friezes, stained glass windows, mosaics etc.
 
An Example: Medieval cathedrals integrated most of the values above.
The cathedrals were the focus of the religious life of the community even as there was being built by hundreds of ordinary people and skilled craftsmen over long periods of time. The towers symbolically rose high above the town and within the walls, the sculpture and stained glass windows stirred the emotional of the faithful. Processions with banners, chants and the mass, with its music, poetry and drama, integrated the arts and values of the culture. All of this gave meaning and continuity to the otherwise impoverished lives of the common people.

ACADEMIC HONESTY AND THE ARTWORKS YOU PRESENT.

5 sytuacji, które błędnie utożsamiasz z plagiatem - LINK ACADEMIC HONESTY AND THE ARTWORKS YOU PRESENT ( s .118)