ESO ES Inglés Verdemar: ART

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS

3º E.S.O.

EXERCISES

FULL NAME……………………………………COURSE……………………

CONTENTS 3º E.S.O.

1. VISUAL PERCEPTION

2. AUDIOVISUAL LANGUAJE

3. ELEMENTS OF THE LANGUAGE OF ART

4. GEOMETRIC DRAWING

5. PROJECTIVE GEOMETRY

6. CONIC PERSPECTIVE

7. COLOUR

8. LIGHT VOLUME AND CHIAROSCURO

9. COMPOSITION

QUALIFICATION CRITERIA

The qualification criteria of Visual Arts 3º E.S.O. is the following: The 70% of the final mark will be the average of the marks obtained of the exercises and exams.

The other 30% will be:

50% Active participation in the class 50% Use of English in class In the case that the student fails any of the school terms he/she will have to attend September’s exam and will be examined of the contents of this term. If he fails this exam the final mark will be the average of the other two school terms. If the average mark is below 5 he/she will fail the whole subject

School Workshop

- Always use magazines, newspapers or scrap paper to mix colours (not wood).

- Use the white tables only for drawing.

- Always take the paintbrushes to the sink, clean them and leave them on the containers.

- Just paint on the tables next to the sink.

- Always unplug the hot glue guns and put them away in the tool box.

- Tidy up the tools and hang them on the tools panel.

Clean up

- Paints (1): Leave the colours on the shelves

- Tools (2): Put the tools on the panel.

- Clean paintbrushes (2): Clean paintbrushes and put them inside the containers.

- Sweep (2): Sweep out the workshop. 1per zone (white tables, sink and the rest)

- White tables (1)

- Painting tables (2)

- Chairs (2): Put the chairs and stools on the tables

- Sink (1): Clean the sink.

- Hot glue (1): Scrap out the hot glue.

Supervisor (1 per term) the supervisor will make a list with the students that have to clean up.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

UNIT 0: MATERIALS AND CLASSROOM LANGUAGECLASSROOM LANGUAGE:…

doinga roll call…

•HERE: AQUÍ,PRESENTE… callingtheteacher…

•Name…, PLEASE!

•COULD YOU COME, PLEASE? :¿ PUEDE VENIR, POR FAVOR?… you don’t understand…

•COULD YOU REPEAT, PLEASE?: ¿PODRÍA REPETIR, POR FAVOR?

•I´M SORRY, I DON´T UNDERSTAND: LO SIENTO, NO ENTIENDO.•COULD YOU SPEAK LOUDER? : ¿PUEDE HABLAR MÁS ALTO?

•COULD YOU SPEAK MORE SLOWLY: ¿PUEDE HABLAR MÁS DESPACIO?… askingforpermission…

•MAY I GO TO THE TOILETE?: ¿PUEDO IR AL SERVICIO?

•CAN WE USE OUR BOOK/ DICTIONARY…? : ¿PODEMOS USAR EL LIBRO/ EL DICCIONARIO…?

•MAY I BORROW A PENCIL, A PEN ….? : ¿PUEDO PEDIR ….?

•MAY I SIT DOWN HERE WITH ..?: PUEDO SENTARME AQUÍ CON …?

•SORRY I´M LATE, MAY I COME IN?: SIENTO EL RETRASO, ¿PUEDO ENTRAR?

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

•HOW DO YOU SAY ………. IN ENGLISH? : ¿CÓMO SE DICE ……..EN INGLÉS?•WHAT DOES ………… MEAN IN ENGLISH?: ¿QUÉ SIGNIFICA ……….. EN INGLÉS?•WHAT´S THE ENGLISH/SPANISH WORD FOR… ?: ¿CUÁL ES LA PALABRA EN INGLÉS PARA …?

•I HAVE A QUESTION:TENGO UNA PREGUNTA.

•HOW DO YOU SPELL IT? : ¿CÓMO SE DELETREA?

•HOW DO YOU PRONOUNCE THIS WORD? : ¿CÓMO SE PRONUNCIA ESTA PALABRA?

•IS THIS RIGHT/OK? : ¿ESTÁ BIEN?, ¿ ES CORRECTO?

•WHAT DO I / WE HAVE TO DO?: ¿QUÉ TENGO/TENEMOS QUE HACER?

•WHEN ARE WE TAKING THE EXAM? : ¿CUÁNDO TENEMOS EL EXAMEN?

•HOW LONG DO WE HAVE TO COMPLETE THE WORKSHEET?: ¿ CUANTO TIEMPO TENEMOS PARA ….?

•IS IT FOR HANDING IN? : ¿ ES PARA ENTREGAR?

•WHEN DO WE HAVE TO HAND IT IN? : ¿ CUÁNDO HAY QUE ENTREGARLO?•WHAT PAGE? : ¿ EN QUÉ PÁGINA?

•WHICH EXERCISE? : ¿ QUÉ EJERCICIO?…correcting, answering, expressing…

•I THINK I GOT IT WRONG: CREO QUE LO TENGO/LO HICE MAL.

•I DON´T KNOW THE ANSWER: NO SÉ LA RESPUESTA.

•I HAVE ALREADY FINISHED: YA HE TERMINADO.

•I HAVEN´T FINISHED YET: TODAVÍA NO HE TERMINADO.

•I COULDN´T FINISH : NO PUDE TERMINAR.

•I DIDN´T HAVE EHOUGH TIME. NO TUVE TIEMPO SUFICIENTE.

•I CAN´T SEE THE BOARD: NO PUEDO VER LA PIZARRA,…

•I KNOW THE ANSWER: SÉ LA RESPUESTA

•I WOULD LIKE TO CORRECT/ TO ANSWER: MES GUSTARÍA CORREGIR, RESPONDER

•SORRY, BUT I FORGOT TO BRING MY …: LO SIENTO, PERO SE ME OLVIDÓ TRAER …

UNIT 0: MATERIALS AND CLASSROOM LANGUAGEWriteas manysentencesas possible:Weuse a sharpenertopaintsharpenanglesanerasera rulerstraightlinesa compassdrawwipeoffa protractorcirclesourpencilsa pencila markercutmeasurepapera brusha colourpencilwithposter colorsa squarescissorsperpendicular lines

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

English

Spanish

WRITE SENTENCES WITH THE WORDS ABOVE

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

FRONT COVER

Draw a front cover based on the famous painting “El jardín de las Delicias”. Write the title (PLÁSTICA Y VISUAL 3º E.S.O.) using any of the different types of letters you can find in page number 6.

Hieronymus Bosch (1450 – 9 August 1516), was a Dutch painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives.

Art

Bosch produced several triptychs. Among his most famous is The Garden of Earthly Delights. This painting, for which the original title has not survived, depicts (represents) paradise with Adam and Eve and many wondrous (marvellous) animals on the left panel, the earthly delights with numerous nude figures and tremendous fruit and birds on the middle panel, and hell with depictions of fantastic punishments of the various types of sinners on the right panel. When the exterior panels are closed the viewer can see, painted in grisaille, God creating the Earth. These paintings—especially the Hell panel—are painted in a comparatively sketchy manner which contrasts with the traditional Flemish of paintings. Bosch never dated his paintings. But—unusual for the time—he seems to have signed several of them, although other signatures purporting to be his are certainly not. Fewer than 25 paintings remain today that can be attributed to him. In the late sixteenth-century, Philip II of Spain acquired many of Bosch's paintings

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL PERCEPTION EXERCISE 1: impossible figure

IMPOSSIBLE FIGURES

1. Draw an impossible figure.

2. For the background you must choose any of the ways you know to create the sensation of perspective. (size variation, superposition, or lost of colour intensity)

Imposible figures:

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

http://www.mcescher.com/

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

IMPOSSIBLE FIGURE EXERCISE

Draw axis:

1. We draw two perpendicular lines.

2. In the intersection point we draw a line which forms a 30 grade angle relative to the horizontal line.

3. Using parallels ( relative to the axis) we draw the figure

http://www.youtube.com/watch?v=zlag4VNfJ8M&feature=player_embedded

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

DRAWING AN IMPOSSIBLE FIGURE STEP BY STEP

In the examples below you can see what you have to do to create this figure using the isometric axis. First draw the axis and then draw a kind of door. Then follow the different steps of the drawing.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL PERCEPTION EXERCISE 2: BUILD AMES ROOM

An Ames room is a distorted room that is used to create an optical illusion. Probably influenced by the writings of Hermann Helmholtz, it was invented by American ophthalmologist Adelbert Ames, Jr. in 1934, and constructed in the following year. As a result of the optical illusion, a person standing in one corner appears to the observer to be a giant, while a person standing in the other corner appears to be a dwarf. The illusion is so convincing that a person walking back and forth from the left corner to the right corner appears to grow or shrink. http://en.wikipedia.org/wiki/Ames_room

EXERCISE Using the following pattern build an Ames Room and decorate. The scale will be 3:1. Measure the angles and use the protractor. Use triangles to draw the pattern on card. You must cut out the figures with an X on it so light gets inside and you can see the room.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

Tools required: 1) Cutting blade 2) ruler 3) stiff paper or card 4) adhesive tape or gum 5) objects such as a key, pen, playing cards, toy figures. The illusion is noticeable if the layout and prints are large, so print as big as possible. Below is the layout for the Ames Room. In an image editor, the size of this image is 48 inches width x 54 inches height.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

English

Spanish

WRITE SENTENCES WITH THE WORDS ABOVE

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

PERCEPCIÓN Y LECTURA DE IMÁGENES Autoevaluación

Nombre apellidos……………………………………………………….Curso……….

1. ¿Qué es la percepción visual?

2. ¿Cómo se consigue un efecto espacial de profundidad?

3. Cita tres ejemplos perceptivos, explica uno de ellos y dibuja un ejemplo.

4. ¿Qué efecto visual cumplen estas imágenes?

5. Dibuja una ilusión óptica y explícala

6. ¿De qué clase de figura se trata esta forma?

7. ¿Cómo se consigue este efecto?

8. La comunicación visual es un proceso de…

9. ¿Qué es el contexto? ¿Significan lo mismo la misma imagen en un contexto que en otro?

10. ¿Cuál es el significado y significante en esta imagen?

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

11. ¿Qué es el código visual?

12. ¿Qué es el soporte?

13. ¿Cuál es el objetivo principal de la publicidad?

14. ¿A qué clase de imagen pertenecen las esculturas?

15. ¿Qué tipo de función poseen las siguientes imágenes?

16. Haz un dibujo de un signo, una marca y un símbolo y explica las diferencias.

17. ¿Cómo se llaman las creaciones visuales de Joan Brossa? ¿Qué crees que representa esta imagen?

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

DESIGNING SCHOOL´S CALENDAR Design a new calendar for the school. You can use any technique you want. The rest of the school will vote the calendar they prefer and the most voted calendar will be printed for the school.

Colegio Verdemar Logo

2 0 1

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

1.VISUAL PERCEPTION (CALENDAR Nº1)

1.1 Draw an optical illusion

Op art, also known as optical art, is a style of visual art that makes use of optical illusions. "Optical art is a method of painting concerning the interaction between illusion and picture plane, between understanding and seeing. Op art works are abstract, with many of the better known pieces made in only black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

GEOMETRY I (CALENDAR Nº2)

2. On coloured card make some “Kirigami” figures.

Kirigami is a variation of origami that includes cutting of the paper (from Japanese "kiru" = to cut, "kami" = paper). It is also called "Kirie" From "Kiru"= to cut, "e"= picture.

Typically, kirigami starts with a folded base, which is then cut; cuts are then opened and flattened to make the finished kirigami. Kirigami are usually symmetrical, such as snowflakes, pentagrams, or orchid blossoms.

"nip": Squeeze tightly between the fingers. /

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

http://marivi_10.tripod.com/name.html How to write Your name.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

GEOMETRY I (CALENDAR Nº3)

3. MAKE AN ESCHER TESELLATION

MODULAR NETWORKS Flat modular networks are made up of a number of repeated units called flat modules. They are usually used in the decoration of homes of urban areas, for examples on walls, paving, flooring, gates or fences.

Tessellation is the process of creating a two-dimensional plane using the repetition of a geometric shape with no overlaps and no gaps. Generalizations to higher dimensions are also possible. Tessellations frequently appeared in the art of M. C. Escher, who was inspired by studying the Moorish use of symmetry in the Alhambra tiles during a visit in 1922. Tessellations are seen throughout art history, from ancient architecture to modern art. The equilateral triangle side length must be 8 cm

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

http://www.youtube.com/watch?v=212XC1zfxXY

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

2. AUDIOVISUAL LANGUAGE

EXERCISE1: SWAPPING FACES Look for the cover of a film and with a photograph of your face create a photomontage in which you swap your face with the main actor/actress face.

1. Open both photos

2. Select your face with the lasso tool

3. Copy your selection (Edición>Copiar)

4. Paste Your selection (Edición>Pegar) and adjust to the size of the actor/actress (Edición>transformación libre). Click ENTER.

5. -------capa>Descubrir todas

6. Select paintbrush tool and paint with black colour to erase part of the face and White to redo.

7. To zoom the picture click: Vista>aumentar

8. Once you´ve finished you must change the colour of your face so it is similar to the actor/actress (Imagen>ajustes>Equilibrio de color).

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

Examples

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

2. AUDIOVISUAL LANGUAGE EXERCISE 1: FILM REVIEW POSTER

Analyzing the script

1. Write a summary about the film you have chosen with your own words (at least 10 lines)

2. Film analysis: write your opinion about the film

3. Explain how each character is, his/her personality, how they act in the film. (at least 3 of the main characters) 4. What do you consider to be the moral of the story? Have you learnt anything with this film? Would you recommend this film? Technical analysis Analyze any film you want and write down the following sections:

• Director: Year:

• Genre: Screenplay:

• Producer: Cast:

• Photography Music by:

• Casting by Film editing:

• Awards: http://www.imdb.com/

2. Analyzing the cinematographic language: From the film you’ve chosen name and explain some:

• Camera shots. Look for shots from the film and explain which camera shots correspond to them.

• Camera movements: Show some examples of camera movements in the film.

• What colours are mainly used in the film and what’s the meaning you think they try to express

• Describe montage techniques. Which do they use?

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

CAMERA SHOTS There is a convention in the video, film and television industries which assigns names to common types of shots, framing and picture composition. The list below briefly describes the most common shot types

Noddy: Shot in which an interviewer asks questions

CAMERA ANGLES

It always refers to the way a shot is composed.

Eye-Level

This is the most common view, being the real-world angle that we are all used to.

High Angle

A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.

Low Angle

This shows the subject from below, giving them the impression of being more powerful or dominant.

Bird's Eye

The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different spatial perspective.

The bird's-eye view is also very useful in sports, documentaries, etc.

CAMERA MOVEMENTS

Dolly Shot

A dolly is a cart which travels along tracks. The camera is mounted on the dolly and records the shot as it moves. Dolly shots have a number of applications and can provide very dramatic footage.

Dolly Zoom

A dolly zoom is a cinematic technique in which the camera moves closer or further from the subject while simultaneously adjusting the zoom angle to keep the subject the same size in the frame. The effect is that the subject appears stationary while the background size changes (this is called perspective distortion)

Arc Shot

An arc shot is a camera move around the subject, somewhat like a tracking shot.

Follow Shot

It simply means that the camera follows the subject or action. The following distance is usually kept more or less constant.

Pedestal Shot

A pedestal shot means moving the camera vertically with respect to the subject.

Camera Pan

A pan is a horizontal camera movement in which the camera moves left and right about a central axis.

Camera Tilt

A tilt is a vertical camera movement in which the camera points up or down from a stationary location.

Tracking Shot

The term tracking shot is widely considered to be synonymous with dolly shot; that is, a shot in which the camera is mounted on a cart which travels along tracks.

Zoom Shot

A zoom is technically not a camera move as it does not require the camera itself to move at all. Zooming means altering the focal length of the lens to give the illusion of moving closer to or further away from the action.

The Rule of Thirds

The rule of thirds is a concept in video and film production in which the frame is divided into nine imaginary sections. This creates reference points which act as guides for framing the image. Points (or lines) of interest should occur at 1/3 or 2/3 of the way up (or across) the frame, rather than in the centre. Like many rules of framing, this is not always necessary (or desirable) but it is one of those rules you should understand well before you break it.

In most "people shots", the main line of interest is the line going through the eyes. In this shot, the eyes are placed approximately 1/3 of the way down the frame.

FILM EDITING Film editing is part of the creative post-production process of filmmaking. The term film editing is derived from the traditional process of working with film, but now it increasingly involves the use of digital technology. The film editor works with the raw footage, selecting shots and combining them into sequences to create a finished motion picture.

USES OF COLOUR: Meanings of colour With the different uses of colour you can increase or decrease the expressiveness of a film. It can create an adequate atmosphere for the reception of a message. Colours have different Meanings and are usually the following: Black: Formal, strong, elegant. Blue: Cold, sadness, calm, serenity Gold: love, royalty, wealth, imperial. Red: Love, passion, wrath, hate. Pink: Tenderness Orange: Festive, cheerful, energy, health. Sanguine: Freedom, creativity Yellow: Light Green: Fresh, young White: Pureness, clean, sharp

COLOURS AND PERSPECTIVE:

- Warm colours give an impression of proximity and cold of remoteness. It also influences the intensity of each colour.

- High tones, illuminated suggest grandiosity, remoteness, emptiness. Low tones suggest proximity.

- Illuminated backgrounds intensify colours, they make a cheerful environment and objects gain in importance.

- Dark backgrounds weaken colours, they create sad atmospheres, and the objects lose importance.

Colour is also used to focus attention, narrative rhythm and montage and can express more stress in certain moments. Pictorial colour: Tries to evoke colour from painting and even their composition. Historical colour: Tries to recreate the chromatic atmosphere of an era. Symbolical colour: They use certain colours in different planes to suggest and underline certain effects. Psychological colour: Each colour produces a different mood effect. Cold colours depress and warm colours exalt.

MONTAGE:

Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. It was coined by Eisenstein, and early Russian directors used it as a synonym for creative editing. In France the word "montage" simply denotes cutting. Type of montages: Narrative or classic montage: It describes events or in chronological way or jumping to the future or past (flash-forward, flash-back y Racconto) Ideological montage: Whenever they use emotions, symbols, gestures…. Creative montage or abstract: Order regardless of a determined chronology Expressive montage: When it indicates the rhythm of the action, fast in adventures and action, slowly in drama and thrillers.

*Racconto: From the past to the present time

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

AUDIOVISUAL LANGUAGE

EXERCISE 2:VISUAL POEMS Visual poetry is poetry or art in which the visual arrangement of text, images and symbols is important in conveying (transmitting) the intended effect of the work. It is sometimes referred to as concrete poetry, a term that predates visual poetry, and at one time was synonymous with it. Visual poetry was heavily influenced by Fluxus (an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s)

Joan Brossa y Chema Madoz art works

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

http://en.wikipedia.org/wiki/Visual_poetry CREATE YOUR OWN VISUAL POEM USING PHOTO EDITING SOFTWARE. From the visual poem you create you must write a poem for the subject “Spanish Language” that has to do with the exercise you´ve created.

These are examples of visual poems done by other students

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

English

Spanish

WRITE SENTENCES WITH THE WORDS ABOVE

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

LENGUAJE AUDIOVISUAL Autoevaluación Tema 2

1. ¿Cuál es la característica principal del cine?

2. ¿Para qué sirve este soporte?

3. Las miniseries en que formato de televisión se incluyen…

4. ¿De qué se encarga la producción?

5. ¿Qué acciones se desarrollan en la publicidad?

6. ¿Qué es el plano cinematográfico? ¿Cuántos tipos de planos hay? Señálalos en el dibujo:

VISUAL ARTS 3º E.S.O.

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Velasco

Rowling

7. Señala en el siguiente anuncio los distintos elementos de un anuncio:

8. ¿Qué diferencia existe entre picado y contrapicado? Haz un dibujo de una figura en contrapicado.

9. ¿Qué es el rotoscopiado?

10. ¿Cuántos fotogramas por segundo se proyectan para conseguir en el cine la ilusión de movimiento?

11. ¿En qué partes fundamentales se divide el desarrollo de una historia?

12. ¿Qué representa esta imagen? ¿Cómo se define?

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

3.BASIC ELEMENTS OF VISUAL EXPRESSION

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

3.BASIC ELEMENTS OF VISUAL EXPRESSION

EXERCISE Find a photo you like and transform into an abstract painting in which you use the different types of lines (vertical, horizontal, oblique, curved...), with high tone colours similar to the paintings from the artist Giacomo Balla who tried to depict movement in his artwork.

Wassily Kandinsky

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

Born in Italy, the son of an industrial chemist, as a child Giacomo Balla studied music. Giacomo Balla adopted the Futurism style, creating a pictorial depiction of light, movement and speed. He was signatory to the Futurist Manifesto in 1910 and began designing and painting Futurist furniture and also created Futurist clothing. During World War I Balla's studio became the meeting place for young artists but by the end of the war the Futurist movement was showing signs of decline. Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city.

http://en.wikipedia.org/wiki/Futurism_(art)

http://vanguardiaseuropeas.blogspot.com.es/2012/11/pintura-en-el-futurismo-y-el.html

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

ELEMENTOS DE EXPRESIÓN Autoevaluación Tema 3 1. ¿Qué es el punto en el lenguaje visual? 2. ¿Cómo se encaja una figura? Encaja esta figura

3. ¿Cuál es el efecto visual que producen planos inclinados? 4. ¿Cómo podemos conseguir sensación de tensión y movimiento en una composición utilizando el punto? 5. Pon un ejemplo de textura natural y otra artificial. 6. ¿De qué depende la expresividad de la línea? 7. ¿Cómo se consigue un efecto visual de depresión y abatimiento? Haz un pequeño dibujo 8. ¿Para qué se utiliza la línea en la arquitectura? 10. ¿Por qué se define el plano? 11. Que caracteriza a Tom Wesselmann ¿Qué material utiliza para sus cuadros?

12. ¿Cómo se consigue la sensación de profundidad con el plano? Dibuja tres ejemplos 13. ¿Cómo se define la línea? 14. Define textura. ¿Cuántos tipos de texturas existen? 15. ¿Qué líneas producen sensación visual de calma y estabilidad?

VISUAL ARTS 3º E.S.O.

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Velasco

Rowling

4. GEOMETRIC DRAWING

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

5.PROJECTIVE GEOMETRY

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

FIGURES: ISOMETRIC PERSPECTIVE

Axonometric projection is a type of parallel projection used to create a pictorial drawing of an object, where the object is rotated along one or more of its axes relative to the plane of projection.

"Axonometric" means "to measure along axes". Axonometric projection shows an image of an object as viewed from a skew direction in order to reveal more than one side in the same picture.

There are three main types of axonometric projection: isometric, dimetric, and trimetric projection.

Isometric projection is a method for visually representing three-dimensional objects in two dimensions in technical and engineering drawings. It is an axonometric projection in which the three coordinate axes appear equally foreshortened and the angles between any two of them are 120 degrees. The term "isometric" comes from the Greek for "equal measure", reflecting that the scale along each axis of the projection is the same An isometric view of an object can be obtained by choosing the viewing direction in a way that the angles between the projection of the x, y, and z axes are all the same, or 120 http://en.wikipedia.org/wiki/Axonometric_projection

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

5. PROJECTIVE GEOMETRY (EXERCISES)

VISUAL ARTS 3º E.S.O.

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Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

FIGURES

FULL NAME………………………………………………………………CLASS………….

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

EJERCICIO DE SELECTIVIDAD (PAU)

NOMBRE Y APELLIDOS………………………………………………………………CLASE………….

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

6. CONIC PERSPECTIVE

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

www.laslaminas.es

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

EXERCISE: CONIC PERSPECTIVE

Diorama about a film

1. Diorama with furniture, decoration, figures. ……..6 POINTS

2. Poster in which you must include the following exercises:

2.1 Title of the movie, sketches of the figures you are going to make....1 point

2.2 Conic perspective drawing with one or two vanishing points...........1 point

2.3 Using Google Sketchup design the model and print it out…...........1point 2.4 Brief summary about the scene and materials you´ve used............1 point

The scale will be 1/15 (1 centimetre of the model is equivalent to 15 centimetres of the original figure/object/map).The height of the bedroom will be around 2.50 to 3.00 metres, doors will be around 100 x 200cm and windows 1.50 x 1.00 metres

Diorama about a film’s

scene

A diorama is a small model of a real-life scene that has life like details and a realistic background. Make a base for the model 30 x 30cm (using the scale given) with two walls. Use acetate to close the diorama Find small figures to go along with your scene or make them out of clay, paper printouts, pipe cleaners or other materials.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

Be creative. Anything you can find (cotton balls, leaves, twigs, etc.) will usually work. Make every detail count. Hang flying objects with clear string

http://cutandfold.info/html/screenstarz-koolwheelz.html Cars

http://mypaperheroes.blogspot.com/ Figures

http://www.stormthecastle.com/diorama/how-to-make-a-paper-mache-diorama.htm Castle paper mache

http://www.cubeecraft.com/

POSTER

Exercise: 2.2 Conic Perspective

Draw your diorama in a DINA3 card in conic perspective (with one vanishing point). Colour imitating the colours from the scene you have chosen. Perspective in the graphic arts, such as drawing, is an approximate representation, on a flat surface (such as paper), of an image as it is seen by the eye. The two most characteristic features of perspective are that objects are drawn:

• Smaller as their distance from the observer increases

• Foreshortened: the size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight

One vanishing point is typically used for roads, railway tracks, hallways, or buildings viewed so that the front is directly facing the viewer.

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

POSTER

Exercise: 2.3 Designing Your Diorama

“GOOGLE SKETCHUP” Design your scene using “Google Sketchup”. Look in the gallery for models of furniture you can use. Try to use the same colours form the diorama

http://sketchup.google.com/intl/es/ _ Website to download program

english

spanish

WRITE SENTENCES WITH THE WORDS ABOVE

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

7. COLOUR

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

EL COLOR Autoevaluación Tema 7 1. ¿Qué es la mezcla aditiva?¿Cuáles son los colores primarios de la mezcla aditiva? ¿Y los secundarios? 2. ¿Qué ocurre cuando un rayo de luz solar pasa por un prisma? 3. ¿Qué contraste de 2 colores se percibe mejor? 4. ¿Cuál es el color complementario de la luz cyan de la mezcla aditiva?

5. ¿Qué es la mezcla sustractiva? ¿Cuáles son los colores primarios de la mezcla sustractiva? ¿Y los secundarios? ¿Por qué se llama mezcla sustractiva? 6. ¿Por qué procedimientos obtenemos mezclas sustractivas?

7. ¿Qué es el tono, valor y saturación de un color? 8. ¿Cómo se consigue un color terciario? 9. ¿Cuáles son los colores complementarios de la mezcla sustractiva? 10.¿Qué células registran la luminosidad de los objetos? ¿Y el color? 11. ¿Cómo se consigue una armonía de afines? ¿Y de complementarios? 12. ¿Cuál crees que es el significado de croma?

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

PROJECT: The colour

PAINTINGS REINTERPRETED 1. Choose a painting from the twentieth century and divide in 4 parts. Reinterpret this painting using the following colours:

1. WARM COLOURS Upper left side

2. COOL COLOURS Upper right side

3. DESATURATED COLOURS Lower left side

4. REALISTIC Lower right side

2. Research Work 3º ESO POWERPOINT (using the guidelines to analyse an artist given below)

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

Guidelines to analyse an artist Research Work 3º ESO POWERPOINT

1. Name of the artist

• Names of the team´s components • Group (3ºA)

(ONLY INCLUDE TEXTS WITH A SIZE UP to 20)

2. Biography

• BIRTH/ DEATH

• NATIONALITY

• EDUCATION AND

OTHER RELEVANT

DETAILS FOR HIS /HER

CAREER

• ARTISTIC MOVEMENT/S

3. CONTEXT

• HISTORICAL CONTEXT

• SOCIAL CONTEXT • POLITICAL CONTEXT • CULTURAL CONTEXT

4. ARTIST WORK (SELECT 4 OF THE MOST REPRESENTATIVE WORKS OF

HIS/HER CAREER)

4.1. DATA OF THE WORK (TITLE, YEAR, SIZE, SUPPORT, TECHNIQUE,…)

• OBJECTIVE ANALYSE:

1. THEME 2.DESCRIPTION/IDENTIFICATION OF THE OBJECTS 3.STYLE ( ABSTRACT OR FIGURATIVE) 4.ART MOVEMENT 5.PREDOMINANT VISUAL ELEMENTS:

LINES, DOTS, PLANES, TEXTURE OR COLOUR 5. COMPOSITION

• SUBJECTIVE ANALYSE: WHICH FEELINGS, EMOTIONS, ATTITUDES, IDEAS,…DOES THE WORK TRANSMIT YOU, AND WHY?

Show an image of the work you are going to reproduce or interpret in teamwork; explain the reasons of your choice

8. LIGHT VOLUME AND CHIAROSCURO

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

8. LIGHT VOLUME CHIAROSCURO EXERCISE: GRISAILLE Draw a grisaille. Choose any drawing you want dram using DINA4 card and follow the steps written below:

1. Fit the figures. 2. Depict in a realistic way. 3. Draw shades.

4. With white paint colour lighter areas

9.COMPOSITION

VISUAL ARTS 3º E.S.O.

Jonty

Velasco

Rowling

SILK- SCREEN PAINTING

http://es.wikipedia.org/wiki/Serigraf%C3%ADa http://www.nodo50.org/ellibertario/PDF/manual_de_serigrafia.pdf

Basically, it is the process of using a stencil to apply ink onto another material whether it be t-shirts, posters, stickers, vinyl, wood, or any material that can keep the image onto its surface. Screen printing is also a stencil method of print making in which a design is imposed on a screen of polyester or other fine mesh, with blank areas coated with an impermeable substance. Ink is forced into the mesh openings by the fill blade or squeegee and onto the printing surface during the squeegee stroke. It is also known as silkscreen, serigraphy, and serigraph printing. A number of screens can be used to produce a multicoloured image or design.

CREATE YOUR STENCIL WITH PHOTOSHOP

Step 1: Look for a picture you like

Step 2: You have to desaturate the photo. To do so we go to

Imagen --> Ajustes --> Desaturar or simply press Mayús+Control+U

Step 3: Now we have to apply an effect called “Umbral” Imagen --> Ajustes --> Umbral

We vary the number until we get a similar image to the one on the right. Step 4: In this step we have to apply a filter. The one we are going to choose is in the tab “Artístico” and with the following word Cuarteado. When we click, 3 options appear: Number of levels: We leave on 2 Simplicity of the edge: When the outline is very simple the more details are stencil will have. Fidelity of the edge: We leave this on 2 Step 5: We have to create “bridges” to cut out our stencil.

We have to make holes so that when we cut the figure it doesn’t fall.