Nota Apresiasi

NOTA 970 / 1

APRESIASI SENI VISUAL (TEORI)

Pengertian Seni Visual

Konsep dan pengertian seni visual di dasarkan kepada beberapa aspek iaitu:-

• penyataan diri (self-expression)
• pengalaman dan sensasi visual dan sentuh
• 2D dan 3D
• komunikasi visual
• bahasa seni visual
• isi / imej
• imej
• fom
• “content”
• benda/ subjek
• objek berfungsi/kegunaan
• nilai estetik
• ciri-ciri kreatif
• pelukis/pandai tukang dan karya seni
• asas senireka

Pengalaman estetik seseorang boleh dihuraikan melalui :-

1. intelektual

-kajian , penerokaan, eksperimen dan dapatan dalam proses penghasilan produk seni

-penguasaan maklumat daripada pelbagai sumber

2. pengalaman langsung

-proses membuat /penghasilan produk seni

-(proses artistic/proses kreatif)

-penglibatan idea

Konsep manifestasi dan imaginasi dalam seni visual dibuat berdasarkan kajian tentang hasrat, tujuan dan peranan seni visual mengikut sejarah dan budaya sesuatu masyarakat.

Ini merujuk kepada contoh-contoh hasil seni visual yang memperlihatkan kekuatan karya tersebut berlandaskan kepada unsur manifestasi dan imaginasi individu atau kumpulan.

Pengertian seni mengikut aliran didasarkan kepada :-

1. tradisi
2. moden

iii) pascamoden

Setiap aliran akan memperlihatkan ciri-ciri nilai, tujuan dan peranan, “significance” dalam sejarah seni, “form” dan “content” stail dan cirri-ciri lain yang ada.

Peranan Seni Visual:

Ia dapat dilihat melalui aktiviti seni visual dari aspek psikologi dan sosiologi.

Dalam aspek psikologi perkembangan dan pembentukan diri individu dilihat sebagai alat komunikasi berdasarkan perkembangan :-

• kreativiti

– sensiviti terhadap masalah, “fluency”,”flexibility”, “originality, mengubah/mentafsir semula, “coherence of organization”. “independent”. Dan “inventive respond”

• sensiviti

– membuat pertimbangan persepsi(senses) social(masyarakat) dan estetik (nilai).

• emosi

– keupayaan melahirkan idea, rasa hati(“feelings and thoughts”), pernyataan diri.

• ekspresi

– tindak balas emosi hasil daripada interaksi dengan persekitaran, orang lain / masyarakat, peristiwa dan benda.

Dalam aspek sosiologi ia memberi penekanan dalam membentuk dan mengembangkan budaya setempat dan sejagat (seni dan masyarkat) melalui:-

• nasionalisme – falsafah, pemikiran, manifestasi, idea individu/kumpulan dalam menyebar dan membangkitkan nilai, semangat dan perasaan.
• persekitaran – kesedaran nilai persekitaran, unsur keselesaaan dan keharmonian dalam seni visual.
• propaganda – saluran untuk menyampaikan dan menyuburkan idea, hasrat atau kepercayaan
• “ritual” dan upacara – seni visual dalam melaksanakan “ritual” dan upacara sesuatu budaya
• “spiritual” – untuk ketenangan, kepuasan dan keselesaan
• pengeluaran – berasaskan kepada faktor citarasa, “trend”, “function”, dan “purpose”.
• pemujukan

– membentuk empati dan tarikan.

Seni Visual dan Penglibatan:

Institusi atau organisasi seni visual memainkan peranan yang penting.

Ianya termasuklah :-

1. penaung

– institusi atau organisasi yang menggalak, menyokong dan mengembangkan seni visual melalui penyertaan dan sumbangan seperti penaja, “art-organizers”, galeri seni

2. pengamal

– individu, kumpulan, institusi atau organisasi yang giat menghasilkan seni visual dan barangan seni diperingkat tempatan dan sejagat seperti Pusat Kraf, tokoh, pelukis, adiguru, pandai tukang, penduduk seni dll.

3. pencinta dan pengritik

– indidvdu atau kumpulan yang menunjukkan minat dan kecenderungan dalam pelbagai kegiatan kegiatan seni visual

-individu yang memperkatakan hasil seni visual melalui penulisan atau lisan dengan membuat analisis , interpretasi dan “judgement” seperti “art critics”, “art historian”, “curators” dll.

Latihan:-

-Buat rujukan dan kajian karya seni atau objek seni tempatan atau luarnegara yang memberi focus kepada isi/aspek yang dikaji.

Ini termasuklah melalui:-

• perbincangan
• pembentangan
• laporan
• kajian
• kajian kes
• seminar
• forum
• perbahasan
• lawatan

KOMUNIKASI VISUAL

Ianya tertumpu pada bidang rekabentuk grafik dan rekabentuk digital multimedia.

Rekabentuk grafik umumnya merupakan rekabentuk visual yang berkepentingan untuk komunikasi dengan audien. Ia juga merupakan seni halus dan seni gunaan dalam gambaran dekoratif, tulisan atau cetakan, tipogarfi, ilustrasi, fotografi atau cetakan dalam bentuk pemujukan , informasi atau pun instruksi.

Rekabentuk Multimedia:

Ia adalah rekabentuk visual yang dihasilkan dengan komputer dengan memasukkan unsur-unsur warna, imej, tipografi, susun atur dan audio yang membenarkan keselesaan pada penglihatan dan pendengaran audien.

Multimedia merujuk kepada komunikasi yang menggunakan audio, video, teks, garfik dan animasi yang digabungkan dengan interaksi pengguna secara interaktif dan dipersembahkan melalui teknologi komputer.

Multimedia interaktif ialah gabungan pelbagai media seperti video, audio, grafik dan animasi melalui komputer. Multimedia interaktif dikaitkan dengan maklum balas iaitu komunikasi dua hala. Interaktif adalah satu proses yang membenarkan pemerosesan maklumat yang mendalam ke dalam minda audien.

Elemen Visual:

Kepentingan elemen visual dalam sesuatu rekabentuk komunikasi visual adalah amat penting. Dua elemen yang penting ialah:-

1. imej / gambar
2. tipografi

Komunikasi visual dengan audien dipersembahkan melalui:-

• poster
• media elektronik
• bahan cetakan
• billboard
• skrin multimedia dsb.

Perekabentuk perlu menitikberatkan komponen imej dan teks dalam sesuatu rekabentuk supaya menepati ciri-ciri:-

• keterbacaan
• kemasan penglihatan audein
• menarik minat untuk melihat
• memokus

Tiga bentuk visual dalam sesuatu rekabentuk:-

1. visual realistik

– visual dalam bentuk yang nyata dan asal seperti foto, ilustrasi dan karya lukisan

2. visual analogik – visual yang telah dipermudahkan dalam bentuk grafik. Kebiasaannnya dilukis dalam bentuk rajah atau simbol
3. visual organizational – visual rekaan grafik yang dipermudahkan dalam bentuk flowchart, graf, peta dan sebagainya. Kemahiran pada pereka bentuk adalah dari segi bentuk dan variasi warna yang digunakan.

Visual realistik

Visual analogik

Visual organizational

Bentuk-bentuk Visual:

Tipografi:

Ia adalah seni memilih dan mengatur huruf . Ia penting kerana melalui muka taip yang bermakna dan sempurna , maklumat dapat disampaikan dengan efisyen.

Bentuk-bentuk visual:

Gambarfoto

Ilustrasi

Grafik ringkas

Simbol

2 jenis muka taip:

1. muka taip peraga

– sifatnya lebih besar, gelap dan sesuai digunakn untuk tajuk utama, judul, logo dan apa saja bersifat peraga atau iklan.

2. muka taip teks

– sifatnya kecil dan sangat banyak digunakan misalnya dalam rekaletak sebuah akhbar, majalah, risalah dan sebagainya.

Anatomi Muka Taip

Kepentingan Komunikasi Visual:

Iannya dilihat dari 2 aspek iaitu:-

1. Rekabentuk

• keperluan komunikasi yang baik memerlukan pereka memahami prinsip-prinsip dan unsur-unsur grafik secara mendalam. Ini membolehkan usaha pemujukan dapat disampaikan dengan berkesan kepada audien.
• kepentingan mesra pengguna iaitu audien tidak mencari-cari, tertanya-tanya dan terkeliru dengan rekabentuk yang dihasilkan
• memberi ransangan positif tanpa menimbulkan keraguan atau syak wasangka
• tidak mengelirukan iaitu menepati sasaran audien dengan tepat. Golongan sasaran orang tua tidak wajar dikelirukan dengan cara moden yang terlalu laju dan bergaya bebas
• kesesuaian dengan alam sekitar. Contohnya billboard dan rerambu jalan perlu memaparkan imej dan warna yang seimbang dengan alam sekitar. Ia boleh mengakibatkan kekeliruan dan pencemaran komunikasi.

2. Masyarakat:

• masyarakat perlu mendapat maklumat secara pantas. Jadi, perlu ditempatkan di kawasan-kawasan strategic yang terdapat ramai audien.
• masyarakat dapat pengetahuan dari sumber-sumber yang diperagakan samada secara langsung atau tidak.
• mendapat hiburan seperti di tv, papan iklan atau billboard elektronik dipersimpangan jalan
• memberi maklumat untk membanding melalui iklan produk kepada pengguna.

Media Komunikasi Visual:

3 jenis iaitu:-

1. media konvensional

– rekaan dengan penggunaan cat berus dan peralatan teknikal. Ianya terbatas pada media yang ada dan permukaan tertentu seperti poster, kain rentang, bidai pengadang matahari, billboard dsb.

2. media cetak

– utama untuk pengikalanan barangan dan maklumat serta mudah dan murah. Pereka perlu mahir dalam segi rekaletak, menyusun huruf dan meletakkan imej yang sesuai yang kini banyak dikendalikan secara komputer

3. media elektronik

– ia merupakan satu persembahan inovasi dan dinamik. Ia bebas dan tidak terikat pada sesuatu bentuk. Pengguna internet dapat menggunakan teknik animasi dan transaksi teks. Kesan serupa didapati pada iklan-iklan televisyen. Pereka perlu menguasai kemahiran dalam aplikasi perisian komputer grafik seperti billboard elektronik, internet, televisyen, CD ROM dan persembahan multimedia.

Perisian Komputer Grafik:

1. rekaletak

• Quark Express
• Adobe Pagemaker
• MS Publisher

2. melukis ilustrasi dan imej

• Macromedia Freehand
• Adobe illustrator
• CorellDraw

3. Mengedit foto dan membentuk imej

• Adobe Photoshop
• CorellPaint

4. Multimedia interaktif, linear dan animasi

• Macromedia Director
• Macromedia Authorware

5. rekabentuk 3D dan animasi

• 3D Studio Max
• AutoCad

6. rekabentuk laman web

• Macromedia Flash
• MS Front Page

7. mengedit filem

• Adobe Premier
• Digital Video Producer

8. mengedit audio

• Sound Forge
• Sound Edit

Format Fail Komputer Grafik

Jenis elemen	Format Fail	Preskripsi
Teks	.txt .doc .rtf	Ianya utk membuat dokumen biasanya dalam MS Word
Grafik	.pcx/pict .bmp .eps tif/tiff .jpeg .gif .targa	Ia adalah bagi imej foto atau ilustrasi. Kebiasaannya nilai kepada setiap format fail adalah berbeza dari segi kapasiti saiz
Audio	.wav .aiff .mid .snd	Ia akan menentukan bentuk audio yang akan didengar
Video	.avi .dvi .mov	Ia bagi audio digital bergantung kepada saiz dan bentuk video
Animasi	.flc .dir .fli	Ia akan menentukan jenis animasi dan perisian animasi

Jenis-jenis imej grafik digital

2 jenis yang boleh dihasilkan

1. Imej Vektor(vector)

– dihasilkan dengan perisian seperti Adobe Illustrator, Macromedia Freehand, CorelDraw dan AutoCad. Imej ini mempunyai kualiti garisan yang padu dan tidak bergerigi. Biasanya penghasilan ilustrasi adalah sesuai menggunakan imej ini.

2. Imej Peta(bitmap)

– dihasilkan dengan menggunakan perisian Adobe Photoshop, CorelPaint,Xras dan imej pengimbas. Imej yang dihasilkan sekiranya diperbesarkan terdapat begerigi. Kebiasaan imej adalah dari gambar foto yang diimbas dari pengimbas (scanner).

Kaedah Komunikasi Visual:

Adalah amat penting bagi pereka bentuk grafik memahami prinsip-prinsip asas dalam rekaan iaitu asas-asas senireka, prinsip rekaan dan mengorganisasikan rekaan. Bersama itu perlu juga daya intelektual dalam mengembangkan idea serta pengetahuan mengenai dunia terkini. Dua perkara yang dikira pengukuhan sesuatu rekaan ialah pemikiran “subject-matter” atau uniti intelek dan uniti visual.

Beberapa kaedah dalam rekabentuk komunikasi visual iaitu rekabentuk-rekabentuk yang menggunakan :-

1. tipografi
2. imej dan representasi
3. kombinasi imej dan representasi
4. ilustrasi naratif
5. dekoratif
6. bentuk herot-piut
7. imej dan tipografi bersekuan

Rekabentuk kombinasi imej/ tipografi

Rekabentuk menggunakan imej dan representasi

Rekabentuk menggunakan imej dan tipografi bersekuan

R ekabentuk menggunakan ilustrasi naratif

Rekabentuk herot-piut

Rekabentuk menggunakan dekoratif

Latihan:-

Adakan perbincangan mengenai:-

1. aspek kepentingan semasa komunikasi visual tertumpu kepada media elektronik
2. kesan kebaikan/keburukan komunikasi visual
3. jenis-jenis mukataip
4. nama-nama font dalam komputer
5. peranan mukataip dalam sesuatu penghasilan grafik
6. kelebihan dan kelemahan media-media dalam komunikasi visual dalam skop rekabentuk grafik, pengiklanan, dan rekabentuk multimedia
7. perkembangan komputer grafik terhadap perkembangan rekabentuk komunikasi visual
8. ciri-ciri perbezaan dalam format fail komputer fgrafik
9. kelebihan grafik imej vector dan bitmap
10. perisian komputer

IDEA DAN PENGUCAPAN SENI VISUAL

Idea:

Ia menyatakan hasrat dan menjadi dasar kepada komunikasi. Pengertian idea dapat memberi sesuatu interpretasi. Jadi, idea merupakan satu representasi mental yang membentuk objek pemikiran. Idea dapat dijanakan melalui tahap-tahap penglibatan psikologi menerusi:-

1. persepsi
2. emosi

iii intelek

Dalam proses pengkaryaan, idea boleh dihidupkan melalui berbagai cara, melalui rujukan dari pelbagai sumber seperti:-

• homages-dorongan dari semangat menghargai tuan/pendewaan/idola/ikonologi
• media massa-zaman maklumat , seni propaganda
• pemerhatian-persepsi dan ilusi , alam benda
• persekitaran-alam semulajadi dan alam buatan

contoh:lanskap

• peristiwa-mitos, sejarah, semasa, exotic
• imaginasi-alam peribadi, idiosyncracy,mistik,eccentricity
• pengalaman-kesan sensiviti terhadap apa yang dialaminya samada dari persekitaran diri maupun alam sekeliling. Dinukilkan dan dihidupkan dengan pelbagai kesedaran baru tentang ciri masyarakat.
• Imbauan(reflection)-mimpi, ingatan lampau-pahit,manis dsb.Untuk dirakam ,alegori, tamsil dsb

Soal penciptaan melibatkan kedua-dua aspek pengolahan – isi dan kaedah

Dari situ muncullah pengertiannya dari adunan idea dan teknik merangkumi bahan melalui berbagai pendekatan dan peralatan. Soal ini sering dirujuk sebagai keserasian idiom dan medium dalam membentuk dan merealisasikan stail.

Pengucapan Seni Visual:

Pegucapan menyarankan bahasa. Seni adalah suatu bahasa dan sebagai suatu bahasa, butir kandungannya diungkap bagi memenuhi sesuatu hasrat dan maksud untuk disampaikan.

2 kaedah mesej boleh dipersembahkan dalam bentuk imej iaitu:-

1. dialog

– membawa kesan perhubungan lansung antara audien dengan imej

2. naratif

- untuk maksud penghuraian, penceritaan

Pengertian dan makna pengucapan seni visual melibatkan-

1. isi/mesej
2. form/bentuk

iii. media/teknik

Pengolahan pengucapan seni visual dapat mengupas 3 bentuk maklumat iaitu:-

• sintaktik

-penekanan pada struktur dan bentuk serta pernyataan bahan

• semantik

-penekanan pengertian dan makna berdasarkan kandungan

• ekspresif

-penekanan penyampaian rasa dan perasaan

Gaya penampilan yang dapat mengarah penekanan emosi atau intelek ialah:-

• imitasi

-naturalisme,realisme,superealisme

• idealisasi

-terdapat banyak pada imej-imej keugamaan. Ia melibatkan exaggaration samada aspek idea /form

• stailisasi

-pertimbangan imej berdasarkan cirri bahan yang digunakan

• abstraksi

-perlambangan aspek mujarad bagi maksud inerpretasi tenang perkara yang bukan objek

Latihan:-

Buatkan apresiasi beberapa karya seni dari aspek-aspek:-

• isi
• fom
• media / teknik
• pengolahan karya
• idea karya
• gaya penampilan

“Membakar Semut” kapur 1967

Dzulkifli Buyong

Apresiasi:-

- 4 gaya penampilan

1. gaya naturalisme:

• imitasi figura
• tak realisme , tiada kadar banding yang betul tapi masih dapat di kenal pasti

2. gaya idealisme:

• penyampaian secara “exaggaration”/melampau
• komposisi susunan 3 segi berpusat kepada api

3. stailizasi

• figura – tidak mengikut kadar banding yang betul

4. abstraksi

• lambang-suratkhabar digunakan untuk membakar iaitu suratkhabar melayu sebagi melambangkan kanak-kanak melayu

- Mesej yang hendak disampaikan:

• keadaan masyarakat kanak-kanak melayu iaitu membakar semut sebagai satu aktiviti
• tiada mainan lain
• permainan yang agak simple dan daif yakni satu gambaran tentang keadan sosio-ekonomi

- Bentuk:-

• naratif, ekspresi watak diolah bagi menerangkan sesuatu.

Apresisiasi:-

Olahan mesej dalam konteks masyarakat

• gambar selepas merdeka , terdapat simbol-simbol pembangunan iaitu tiang lampu
• warna oren, tanah merah baru di tambak
• cara kehidupan ke arah satu peralihan sosio-ekonomi masyarakat yang aman damai

Catan sebagai sumber visual ekonomi:

• satu dokumentasi tentang keadaan sosio-ekonomi pada masa itu
• tiang, tanah, rumah,- satu pembangunan awal luaran tetapi rumah masih beratap rumbia

“Ayahku dan Angkasawan” 1969

Ibrahim Hussein

Teknik:

Campuran, catan dan cetakan saring

Halbenda:

2 figura

1. takberbaju tetapi berkainpelikat
2. angkasawan yang lengkap tetapi berlatarbelakangkan pemandangan kampong

Mesej:

• ada duit dipeha
• tahun 1969, bapanya masih tidak percaya pada kejayaan manusia dibulan
• kisah kebuluran di Baling
• kontroversi dengan bapa
• nilai social

Gaya:

• realistic dengan gabungan teknik catan dan cetakan

Sebab-sebab karya berjaya:

• mampu meyampaikan mesej dengan jelas tentang paradigma masyarakat yang tidak mahu maju.

“Kelahiran Inderaputra” cat minyak 1978

Annuar Rashid

Pendekatan eksperimentasi oleh pengkarya :

• metos yang digambarkan dalam bentuk visual
• media – satu kaedah eksperimentasi kesan cahaya dengan teknik warna putih (transparency –effect)
• menggunakan media cat minyak
• menggambarkan saat-saat kelahiran Inderaputra yang dipenuhi dengan cahaya

Gaya penampilan:

• objek asal ditukar pada abstraksi (tokok- tambah)
• suasana alam nyata- imitasi kearah khayalan
• Kubisme dan Futurisme (Surealisme)

TRADISI DAN TRANSFORMASI SENI VISUAL

Pengertian:

Tradisi:

Ianya penurunan sesuatu kebudayaan dari satu generasi ke satu generasi. Ianya satu transmisi prinsip yang datangnya dari satu sumber asal yang dipakai secara berkesan pada setiap pemikiran dan tindakan. Ia mempunyai peraturan yang mengenakan hukum alam dan prinsip universal kepada sesuatu yang membina stail yang dapat melantunkan secara tersurat kebijaksanaan sesuatu kebudayaan.

Pribumi:

Sesuatu sifat , cirri kepunyaan bangsa yang mendiami sesuatu tempat asalnya.

Hubungan tradisi dengan pribumi:

Seni merupakan satu pengzahiran yang tersirat sesuatu tamadun yang diucapkan melalui idea, rasa dan perasaan. Pengalaman seni dinukilkan dalam objek bagi mewakili detik-detik tertentu dalam hubungan masa dan ruang mengikut peringkat nilai yang diutamakan.

Proses dan Nilai dalam Seni Tradisi:

1. proses

• bahan – asas, asli, semulajadi, serasi alam dll
• pengulangan, pengekalan, penyambungan hayat (renewal)
• pertimbangan atas keutamaan keseragaman dan keserupaan (inward focus) bukan ekonomi (outward focus)
• unsur pengukuran

2. Nilai

• ritual,spiritual,ethical, communal (non-individualistic) cosmological
  • kekal – untuk maksud kesinambunagn erti dan budaya
  • tidak kekal – bahan yang digunakan adalah non-ephermeral, menonjolkan konsep rebirth dan renewal

Konsep dan Seni Tradisi Pribumi:

1. ciri keindahan

• kesatuan dan interrelatedness, non detachment – estetik dan keindahan
• abstrak dan simbolis – terrestrial dan celetial
• konsep pengulangan, irama (rhythm), melalui pengulangan corak
• kegunaan
• kerumitan dan kehalusan
• unsur hiasan
• keteraturan (samada dalam maksud ethical atau figurative)

2. ciri-ciri reka bentuk

• non-developmental
• synergy (antara rupa geometric dan organic)

3. ciri-ciri rekacorak

• pengulangan
• stailizasi
• abstraksi
• pemenuhan ruang
• penggunaan motif alam dan fauna,geometri
• tingkat perlambangan

4. penghasilan

• hubungan lansung antara fizik manusia dan bahan

(contoh: sistem pengukuran – jengkal, hasta, depa dll)

sensuously mediated, symbiotic

• penggunaan tangan dan peralatan asas
• mekanikal (berulang-ulang)

Seni Tradisi Pribumi dan Transformasi ke Dimensi Baru:

Ia merupakan bentuk dalam rupa dan pesembahan baru setelah dilanda proses kesinambungan dan pembaharuan. Dalam kelanjuran (inertia) tradisi, ia merupakan satu kesinambungan “ilmu pengetahuan”., adat resam, kepercayaan dan amalan dari generasi ke generasi. Tradisi adalah satu daya pemuliharaan (conservative force). Disanping itu , ia juga tunduk dan responsitf kepada tuntutan serta reorientasi yang mengalih/meginjak persekitaran fizikal yang kadangkala begitu drastic hingga mengubah langsung konfigurasi lama untuk muncul sebagai satu tradisi baru. Keupayaan proses begini dijamin terus oleh jalinan kesinambungan dan pembaharuan hayat (renewal). Kesinambunagn tradisi mengaitkan yang sekarang dengan yang lampau, mengubah dan memperbaharui, dan bertindak bagi memberi definisi proses evolusi yang menjamin kesegaran seni serta menentukan identity setiap segmen sejarahnya.

Sebenarnya proses pembaharuan dan perubahan tidak pernah seragam dalam seni oleh kerana kadar, arah dan tingkatnya bergantung kepad paduan daya yang berlaku dan bertindak serentak dengan konteks sosial yang lebih luas, lantas memberi peranan kepada tindakan kreatifnya.

Kecenderungan masyarakat mahupun seninya, ialah menghidupkan terus cirri-ciri tertentu untuk sesuatu jangkawaktu. Namun begitu, perubahan nilai (sacred to profane) tuntutan semasa (contoh: ekonomi). Semangat modernisme dsb, memaksa transformasi berlaku yang dapat dilihat melalui gubahan:

1. bentuk

-penggubahan bentuk kepada bentuk tulen

2. makna

-dari maksud pengekalan (immutable essence) kepada idea perubahan(change and novelty) yang membawa orientasi nilai berbeza

3. fungsi

-kefungsian kepada objek estetik

4. proses penghasilan

-single-manual kepada mass-production, industri

Latihan:

1. Bincangkan pengertian / ciri-ciri keindahan rekabentuk seni tradisi
2. Membuat kajian dan penelitian terhadap kraf
3. Membuat penyelidikan terhadap kesesuaian seni tradisi dalam konteks kontemporari

PEMAHAMAN DAN KRITIKAN SENI

Kritikan atau wacana yang berasaskan kepada satu system yang teratur untuk mengkaji karya seni dari pelbagai sudut. Ia dapat memantapkan kefahaman tentang karya seni visual.

Kritikan seni adalah sebagai satu komponen dalam disiplin seni visual mengembangkan persepsi dan apresisiasi dalam membuat pertimbangan (judgement) sesuatu karya.

Setiap karya seni visual dikaji dari aspek:-

1. halbenda

• mengenalpasti pelbagai halbenda (figura, objek alam, objek buatan manusia, manusia dll. yang digunakan dalam karya

• memahami penampilan imej dalam karya dalam konteks aliran dan stail yang berbeza
• memahami dan membezakan imej realistic, abstrak dan objective dalam karya

2. komposisi

• mengenalpasti asas senireka (prinsip seni dan unsure seni) yang terdapat dalam karya.
• mengkaji penggunaan asas senireka sebagai bahasa visual (non verbal commnunication) dan memahami sifat-sifat ekspresif asas senireka dalam menyatakan maksud
• memahami bagaimana asas-asas senireka diolah dan diadun dalam sesuatu karya.
• mengkaji penggunaan media dan teknik untuk menghasilkan kesan ekspresi dalam karya.

3. kandungan

• memahami pelbagai tema yang menjadi pilihan bagi menyampaikan maksud dan pengertian dalam karya
• mengkaji makna, mesej, idea dan fungsi yang disampaikan melalui karya.

Dalam konteks kualiti estetik pula, aspek-aspek berikut hendaklah dikaji dari segi:-

1. Imitationalisme (literal quality)
2. Formalisme (formal qualities)
3. Emotionalisme (expressive qualities)

Pendekatan dan Strategi Kritikan Seni:

Sumber berbentuk lisan dan tulisan samada bahan cetak atau elektronik dapat memberi pengetahuan dan kemahiran dalam membuat kritikan seni. Ini termasuklah:-

• Jurnalistik

– laporan, penerangan dan penulisan deskriptif (saperti pameran seni di galeri) yang disiarkan dalam suratkhabar atau majalah, radio dan televisyen.

• Ilmiah

– penulisan terperinci dan in-depth dibuat secara intepretif yang disiarkan dalam jurnal dan majalah , laporan dalam seminar dan konferen.

Strategi Kritikan Seni:

4 strategi deskriptif yang bersistem dan berstruktur ialah:

1. deskriptif

• membuat inventori memlalui pemerhatian, tentang imej, benda subjek dan penggunaan unsur seni dalam karya

2. analisis

• mengkaji dari segi organisasi hasil seni dibuat bagaimana prinsip seni digunakan dalam penyusunan unsur seni utnuk menghasilkan kesatuan(unity) dalam karya

3. interpretasi

• mengkaji kualiti ekspresif (perasaan , mood dan idea) yang disampaikan melalui karya bagi menterjemahkan maksud dan makna

4. pertimbangan

• membentuk pendapat dan membuat keputusan bagi menentukan degree of artistic merit dalam karya

Latihan:-

- Buat kajian beberapa karya seni mengikut aliran seni tradisi, moden, pascamoden samada tempatan / luarnegara.

NOTA 970 / 2 LUKISAN

NOTA 970 / 2

LUKISAN (Praktikal)

Lukisan adalah satu karya seni yang dihasilkan menerusi garisan. Media yang dapat membentuk garisan lukisan adalah samada berbentuk kering atau basah di perkenalkan. Aspek-aspek utama yang perlu ditekankan dalam lukisan adalah:-

• rupa dan bentuk
• bayang
• pembalikan
• corak
• jalinan.
• “chiaroscuro”

Bahan dan peralatan untuk Lukisan:

Kesesuaian alat dan bahan adalah penting untuk menghasilkan karya yang diinginkan. Apa yang penting sekali walau apapun bahan dan alat yang digunakan, karya semestinya menampakkan struktur halbenda/subjek yang dilukis.

1. Pensil

-pensil digunakan pada peringat awal iaitu semasa membuat lakaran asas bagi subjek/ halbenda yang dilukis. Pensil dari ton 2H, 3H adalah digalakkan kerana ia kurang jelas.

-Sekiranya lukisan dibuat pada keseluruhan karya dengan menggunakan pensil, maka kepelbagaian ton pensil adalah perlu. Ini termasuklah H,HB, 2H, 3H serta B, 2B,4B, 6B ,BB atau seumpamanya mengikut kesesuaian.

2. Pen

-pen yang sesuai adalah dari jenis “permanent” dan mempunyai saiz mata 0.1~0.5. Kepelbagaian saiz mata pen pun perlu mengikut kesesuaian karya dan jenis lorekan/garisan yang digunakan.Pen jenis permanent ini boleh ditindankan dengan warna jika perlu tanpa menjejaskan garisan / lorekan yang dibuat.

3. Dakwat

-dakwat yang baik menjamin kesan-kesan garisan yang dibuat tidak mengembang. Dakwat digunakan hanya sekiranya pen yang digunakan adalah jenis yang menggunakan dakwat

Latihan Kawalan Pen:

Apabila membuat garisan /lorekan, pen hendaklah dikawal sebaik-sebaiknya untuk mendapatkan kesan yang dikehendaki. Garisan / lorekan perlu dibuat dengan konsisten iaitu garisan /lorekan dilukis dengan cermat /teliti dengan menekankan bentuk garisan/lorekan yang diinginkan. Jika perlu, kertas lukisan hendaklah di pusing-pusingkan untuk mendapatkan kesan yang dikehendaki.

Teknik-teknik Asas “strokes”(Lorekan)

1.lukisan garisan “line drawing”

-Bentuk,rupa dan “ton cerah” disarankan dengan penggunaan garisan “outline”/garisan tepi.

-Jalinan tidak ditonjolkan

-garisan “line drawing “digunakan untuk memperlihatkan rupa atau bentuk halbenda/subjek yang dilukis.

-ia merupakan garisan-garisan awal sebelum lukisan dibuat.

2.garisan kontur “contour lines”

-Garisan-garisan lembut seolah-olah - melingkari permukaan objek.

-Jelas untuk memperlihatkan objek bulat yang rata dan memberi unsur

aliran untuk subjek yang bergerak.Ini termasuklah permukaan yang kilat,

‘logam’, gelas dan aliran air.

-kesan dibuat samada lurus, panjang atau pendek dan disusun sebelah menyebelah mengikuti bentuk objek

-elakkan menyusun garisan kontur dalam deretan yang sama.

-kesan dibuat bagi menampakkan pergerakan aliran air.

- permukaan kilat mempunyai “ton cerah”/penegasan cahaya.

- objek yang dilihat melalui gelas kelihatanseperti herot.

-bahagian “ton cerah, garisan-garisan dibuat jarang-jarang,

putus-putus atau dihilangkan.

-bahagian ton gelap, garisan-garisan dirapat-rapatkan atau

bertindih.

2.garisan selari “parallel lines”

TEKNIK CATAN AIR

HOW TO MIX NATURE'S GREENS

If you're going to paint the landscape, it is hard to avoid Nature's green. This is definitely the problem color, yet so lovely to look at in nature. Some artists have no green on their palette. Several of my teachers used that dreaded Pthalocyanine, also known as Thalo or Winsor Green and handled it beautifully. I believe whatever the name on the tube, it will work as long as you keep variety in mind. Keep changing your mixture. Don't pre-mix a well for the sunny grass and another well for a certain kind of tree. Let the mixing and mingling happen on the paper instead.
I find it helpful to remember that even in the spring, the yellows, oranges and reds are in the foliage. Chlorophyl however is, like Phthalocyanine, so powerful, that it overpowers these colors. Only in the fall, when chlorophyl no longer reaches the leaves, have the other colors a chance to display their beauty. In mixing therefore, I start with an orange, because it consists of yellow and red, which will to a certain extent, neutralize the green I add to that mixture. For the darker greens, I start with a dark orange, which on my palette is Burnt Sienna. I then add the green to it.
I try to never lose the warm feeling of that foliage and on location, keep checking the greens surrounding my palette. Those greens may not be exact, but they do belong to the family of foliage greens. It is also helpful to sneak in some red whenever you can. You can find it in the form of dark purples in branches, mauves in tree trunks, etc. Yes, I do add some dark blue once in a while, but don't over do this, since you may lose the warm feeling of nature's green. Don't be afraid, go out and try to mix some greens on location. For additional help, take a look at my video titled "How to mix greens and paint foliage".
"WHAT COLOR SHOULD I PAINT MY SHADOWS?"



This is a commonly asked question. My answers are based on observation of nature and apply to a representational painting approach, although the same theory works in a more decorative manner.
Basically, shadows are a darker form of the local color. A yellow house does not become a blue house just because it is in shadow. It becomes a darker yellow, influenced by its surrounding colors. Above all, shadow values must be convincingly dark, especially at their edges. Do not hesitatingly "whisper" a shadow shape.
Cast shadows falling across horizontal planes, are a darker version of the local color of road or grass, but are influenced by the sky color reflecting into it. Therefore, you can assume that ground shadows are basically cool. Shadows on vertical planes on the other hand are often warm, because the sunlight reflecting from the ground, has a chance to bounce into these areas.
A white house in shadow gives a great opportunity to see reflected light at work. Looking at a shaded porch for instance, you can see how the shadow is influenced by the color of the floor or ceiling paint. Look at how a red porch roof will bounce into and affect the shadow color above it. Learn to look for the very warm, often orange tint right under the roof's edge.
Avoid reaching automatically for Payne's grey for all your shadows. Instead, let those areas be a celebration of color. Start with some basic color wash and then, while that shadow area is still wet, drop in some orange, pink or mauve. Let those colors mix on the paper instead of premixing everything on your palette and then testing the color on another piece of paper. That test swatch is worthless because it is surrounded by white paper instead of the colors and values that will actually be surrounding that color on your painting. Next time, have fun with colorful shadows. Enjoy!


HOW TO FIND THAT COMPLIMENTARY COLOR

Colors that are opposite from each other on the color wheel, when placed side by side, enhance or complement each other. Yet when they are mixed together, they dull or grey each other. Since this is such an important color characteristic to use while painting, you need to know what those opposite colors are. Can't visualize the color wheel? Here is my simple way to find that elusive complementary color.
In paint, there are only three primary colors: red, yellow and blue. Let's call them the "three musketeers". To find the complementary color, just see which one or two missing primaries complete that trio. To find the opposite of the blue musketeer, for instance, you know that the missing ones are red and yellow. These two colors mixed together become orange, hence it is the complement of blue. If you need the opposite of green, you know that it is a mixture of yellow and blue, hence the missing member of the trio is red. It is that simple.
Now you give it a try. Which primary musketeer is needed to complete the trio if you have violet? Have fun!
HOGARTH'S LINE OF BEAUTY



Here is a bit of advice handed down through the ages. The artist Hogarth shares with us that anything alive is best expressed with a curved, "s" shaped line, while the straight line is best used for anything "dead". This photo for instance, shows some live trees as well as a "dead" telephone pole. Note the slight "s" curve in the foreground tree. Even the one further back has a slight curve and both have interesting angles.
This same "s" curve can be found in the human form, in animals, plants, flowers, in anything alive. Keep the straight lines for structures, created from "dead" materials. This advice is a great help in thinking of dominance and accent. When painting an architectural scene for instance, you'll encounter a dominance of straight lines and need the accent of the curves and angles given to us by tree forms. Next time, think about angling and curving those trees, even if in actuality, they are ramrod straight. They will form a needed relief, an accent for all the straight lines

CATAN AIR

HOW TO MIX NATURE'S GREENS

If you're going to paint the landscape, it is hard to avoid Nature's green. This is definitely the problem color, yet so lovely to look at in nature. Some artists have no green on their palette. Several of my teachers used that dreaded Pthalocyanine, also known as Thalo or Winsor Green and handled it beautifully. I believe whatever the name on the tube, it will work as long as you keep variety in mind. Keep changing your mixture. Don't pre-mix a well for the sunny grass and another well for a certain kind of tree. Let the mixing and mingling happen on the paper instead.
I find it helpful to remember that even in the spring, the yellows, oranges and reds are in the foliage. Chlorophyl however is, like Phthalocyanine, so powerful, that it overpowers these colors. Only in the fall, when chlorophyl no longer reaches the leaves, have the other colors a chance to display their beauty. In mixing therefore, I start with an orange, because it consists of yellow and red, which will to a certain extent, neutralize the green I add to that mixture. For the darker greens, I start with a dark orange, which on my palette is Burnt Sienna. I then add the green to it.
I try to never lose the warm feeling of that foliage and on location, keep checking the greens surrounding my palette. Those greens may not be exact, but they do belong to the family of foliage greens. It is also helpful to sneak in some red whenever you can. You can find it in the form of dark purples in branches, mauves in tree trunks, etc. Yes, I do add some dark blue once in a while, but don't over do this, since you may lose the warm feeling of nature's green. Don't be afraid, go out and try to mix some greens on location. For additional help, take a look at my video titled "How to mix greens and paint foliage".
"WHAT COLOR SHOULD I PAINT MY SHADOWS?"



This is a commonly asked question. My answers are based on observation of nature and apply to a representational painting approach, although the same theory works in a more decorative manner.
Basically, shadows are a darker form of the local color. A yellow house does not become a blue house just because it is in shadow. It becomes a darker yellow, influenced by its surrounding colors. Above all, shadow values must be convincingly dark, especially at their edges. Do not hesitatingly "whisper" a shadow shape.
Cast shadows falling across horizontal planes, are a darker version of the local color of road or grass, but are influenced by the sky color reflecting into it. Therefore, you can assume that ground shadows are basically cool. Shadows on vertical planes on the other hand are often warm, because the sunlight reflecting from the ground, has a chance to bounce into these areas.
A white house in shadow gives a great opportunity to see reflected light at work. Looking at a shaded porch for instance, you can see how the shadow is influenced by the color of the floor or ceiling paint. Look at how a red porch roof will bounce into and affect the shadow color above it. Learn to look for the very warm, often orange tint right under the roof's edge.
Avoid reaching automatically for Payne's grey for all your shadows. Instead, let those areas be a celebration of color. Start with some basic color wash and then, while that shadow area is still wet, drop in some orange, pink or mauve. Let those colors mix on the paper instead of premixing everything on your palette and then testing the color on another piece of paper. That test swatch is worthless because it is surrounded by white paper instead of the colors and values that will actually be surrounding that color on your painting. Next time, have fun with colorful shadows. Enjoy!


HOW TO FIND THAT COMPLIMENTARY COLOR

Colors that are opposite from each other on the color wheel, when placed side by side, enhance or complement each other. Yet when they are mixed together, they dull or grey each other. Since this is such an important color characteristic to use while painting, you need to know what those opposite colors are. Can't visualize the color wheel? Here is my simple way to find that elusive complementary color.
In paint, there are only three primary colors: red, yellow and blue. Let's call them the "three musketeers". To find the complementary color, just see which one or two missing primaries complete that trio. To find the opposite of the blue musketeer, for instance, you know that the missing ones are red and yellow. These two colors mixed together become orange, hence it is the complement of blue. If you need the opposite of green, you know that it is a mixture of yellow and blue, hence the missing member of the trio is red. It is that simple.
Now you give it a try. Which primary musketeer is needed to complete the trio if you have violet? Have fun!
HOGARTH'S LINE OF BEAUTY



Here is a bit of advice handed down through the ages. The artist Hogarth shares with us that anything alive is best expressed with a curved, "s" shaped line, while the straight line is best used for anything "dead". This photo for instance, shows some live trees as well as a "dead" telephone pole. Note the slight "s" curve in the foreground tree. Even the one further back has a slight curve and both have interesting angles.
This same "s" curve can be found in the human form, in animals, plants, flowers, in anything alive. Keep the straight lines for structures, created from "dead" materials. This advice is a great help in thinking of dominance and accent. When painting an architectural scene for instance, you'll encounter a dominance of straight lines and need the accent of the curves and angles given to us by tree forms. Next time, think about angling and curving those trees, even if in actuality, they are ramrod straight. They will form a needed relief, an accent for all the straight lines

CATAN AIR

FORM-DESCRIBING SHADOWS
Shadows help give form to whatever we paint. After all, they tell the story of where the light is coming from. A painter will therefore paint a tree trunk with a light side as well as a dark side, as shown in the upper right of this photograph. (A) That type of shadow is a form shadow, the shadow that is part of the form.
As the photograph shows however, there are even better ways to use shadows. Not only can you tell the viewer where the light is coming from, but in addition, you can show the roundness of the trunk with the help of cast shadows. Those are the shadows cast by an object and falling onto the trunk. Cast shadows are real form describers because they take on the form on which they are cast.
The middle trunk for instance shows some wonderful cast shadows, caused by higher branches. Those cast shadows wrap themselves around that trunk and really give a feeling of the roundness of it. (B) In the traditional, yellow "happy face", the mouth curves upward. With trees on the other hand, the shadow curves are downward as is clearly shown here. (B & D) Therefore, on my workshops, I point out that trees have "sad-faced shadows". To paint those shadows with an upward curve is to defy a natural occurrence and make a typical beginners mistake.
At certain parts of the day, some cast shadows are NOT good form describers. For example, look at the left trunk with the long, vertical cast shadow which simply copies that trunk's outline (C). In a situation like that, it is best to ignore that shadow shape and make it curve over the trunk instead. Perhaps fifteen minutes later it may actually do that anyway. In there lies the danger of copying a photograph verbatim.
Another thing I would like to point out here is the fact that near its cause, the cast shadow is darker and harder edged. Witness the hard edged, curved shadow in the upper part of the middle trunk. (B) The branch which caused that shadow is very near. The farther removed from its cause, the shadow becomes lighter in value and softer edged, as seen on the more delicate curves, on the left and right trunks. (D) Those cast shadows were caused by distant branches.
This photo was taken on my daily walk along the ocean. Remember, you won't always be able to paint, but you can always observe Mother Nature. She is a great teacher.



FORM-DESCRIBING SHADOWS





















Increasing the Illusion of Depth
In "The Watercolor Fix-it Book", you'll find nine different ways to increase the illusion of depth in your landscape without having to resort to those dreaded linear perspective rules. Yet, I'm sorry to say that a tenth way, the contour outline method was left out. Therefore, you may wish to print this tip and add it to chapter eight in your book.
To illustrate this method, imagine yourself on a hillside such as shown in . With your finger, point to the foliage contour of the nearest tree and follow that edge, as in line "A". Next, point to and follow the contour outline of a stand of trees a bit further away, as in line "B". Then follow the outline of a distant hill as in line "C" and do the same with the more distant ridges, as in lines "D" and "E". Notice how your finger motion as well as the linear quality in the diagram becomes less active the further the contours recede into the distance. The fact to remember: keep your active lines up front and slow the linear quality down in the distance.




This tip is even applicable when painting something as close as a sidewalk. In a section of the Fernandina Beach poster shown above, you can see that the near edge of the sidewalk is much more active than the far edge.


And you'll see this same phenomenon when pointing to and following the outline of a pond, as shown in the sketch above. See it applied in the print of the "Hidden Pond" painting.
Of course, as with anything, there are exceptions. Yet it is good to know this tenth method of increasing the illusion of depth. With ten ways to increase depth in your landscapes, who needs linear perspective? Have fun!

THOUGHTS ON HANDLING A BACKGROUND

The focal point building block: "..keep looking at the center of interest."

Prompted by a recent question about how to handle a background, I can't give specifics, because the subject in front of you should give you that advice. It is a case of learning to really look and observe what the subject tells you. Remember, nature is your best teacher. Therefore, when you set up your still life, take some time to compose it well and delete or cover up a confusing background. Ever wondered why you see so much drapery in background areas?
Keep in mind who is the "star" of your painting. What was the reason why you painted that subject in the first place? A background should always remain that and never steal the limelight away from your star area. So too much emphasis on the background, too much fussing in or with the background, will bring that area to the foreground and that's exactly what you want to avoid.
In general, consider treating background areas with cooler, more muted colors. Edges should be softer, more out of focus and details should only be hinted at. Guess what? All this applies to the landscape as well. The curtains of atmosphere lighten, cool, neutralize and soften all that is seen in the distance. For an extreme example, just observe what fog does to the landscape. Therefore, you should stay away from vivid reds or heavy browns in the distance. Again, generally speaking, since there are no absolutes in art. The words "always" and "never" do not exist.
Good advice:
While painting the center of interest, look at the center of interest. While painting everything else, KEEP LOOKING AT THE CENTER OF INTEREST. To test this, stand in front of a mirror, extend your hand to the side and look at your face. It is in sharp focus, while you're really only aware of your hand. Now shift your view to your hand and it becomes in focus while your face is blurred.
Observe our focal point building block. Your attention is automatically directed to the black dot. The arrows at that point, have a strong, black-white value difference. They are in focus, while when they near the edge of the block, they seem to blend more into the background, because the value difference between the arrow and the background becomes less pronounced.
Good luck with painting those backgrounds and keep the questions coming
REFLECTING ON REFLECTIONS



I often hear students referring to reflections as shadows. I don't know why. These are obviously two distinctly different things, although both can be observed, depending on the quality and depth of the water. Shadows are most often observed if the water is either full of sediment, or very shallow. In the latter case, assuming the stream is very clear, you'll actually look through the water, to see the shadow falling over the bottom of the stream bed. To attempt to paint both shadows and reflections on the water is asking for a major headache, however. I've tried it.
Reflections basically reflect the values and colors above the water and, at the water level, duplicate these values and colors. This is assuming we are looking at motionless water. It is basically a mirror. Waves, on the other hand, should be thought of as strips of broken mirrors, placed at slight angles. One angle will reflect the sky, while the other angle will reflect what is above the water level. You may have heard of the formula "The angle of reflection is equal to the angle of incidence." I tried to demonstrate this here with the three pilings and their reflections.
All these formulas get much too technical for most of us. Still, it is good to know the reasons behind some of this and quietly observe nature with a keen eye. In actuality, most painters just place reflections where they need them to tell the visual story of water. Reflections tell that story best. In the case of small puddles, I suggest placing them strategically right below where strong value alternations take place. For instance, place them right below where a house turns from sunlight into shade.
Wet streets are also great fun to paint, because they give you the opportunity to unify and balance colors throughout the scene. Is there any wonder why film makers often feature them? Have fun observing and painting reflections. For examples, look at my Coastal Maine poster as well as the Cozy Harbor and Hidden Pond prints. And if you have any reflection questions, send me an e-mail.

CATAN AIR

List of basic watercolours.


Yellow ochre
Gamboge

Cadmium yellow
Raw umber

cadmium red
Indian red

Ultramarine
Cerulean

Crimson lake
Prussian blue

Paynes grey
Sepia

Hooker's green (dark)
Hooker's green (light)


Back




AVOID A COMMON MISTAKE WITH SHADOWS
There cannot be a shadow on top of a shadow. One shadow will cancel out the other one. Or the two together will form one totally new shape.
The shadow shape illustrated on the left of our sketch shows a combination shadow from the edge of the roof as well as some foliage. Notice that these two shadows meld into each other and become one shape. This is what happens in nature.
In an opaque medium such as oil or acrylics, it seems easier to avoid the error seen in the right part of our sketch. This is an often recurring problem for watercolorists however, since the watercolor medium is transparent and allows you to see through to the layers underneath. It is therefore important for an on-location painter to stick with the shadow patterns first put down, instead of following their change as the sun moves around.
You can attempt to correct a mistake like this with a small bristle brush. Wet it and try blending and eliminating the edges of the underneath shadow. Never add another layer of paint on top of the shadow since it will just make the shadow too dark and those edges will still show underneath.


On this photograph, it looks like you are actually seeing a shadow on top of a shadow. Actually, both sides of the building are receiving sunlight. Due to the position of the sun, however, the front of the building receives full light, while the side of the building is in half light. A shadow can fall over an area receiving half light. However, as soon as that side of the building becomes fully shaded, the angular shadows will disappear and become part of the total building shadow. It proves once more that there cannot be a shadow on top of a shadow.
Keep painting and observing natural phenomena. Good luck!
CREATIVE VALUE MANIPULATION
I encourage workshop students to take step-by-step photographs of my daily demonstrations, so they have a permanent record of my approach. After the workshop, they often send me a set and looking at this photograph, it struck me how close I came to recording the actual values and colors seen.
Just compare the actual grass and road with those sections on the painting. It struck me that although this is somewhat admirable, we have to at the same time be aware that there is more to painting than just being good at copying what is in front of us. Any camera will beat us at that game.
We need to ask ourselves "Why am I painting this scene?" "What am I trying to tell the viewer"? "How can I say it in a more artistic way?". Although those questions come after we have mastered the basics, we should keep them in mind.
In comparison to my "dead-on" example, I want to share my latest art acquisition. It is a painting by Leila Hentzen Smith who has attended several of my workshops. She has always been consistent in her approach. Her value range is always from white to mid-value, in delicate colors. Although this scene was painted on location, she resisted being influenced by actual values and instead, superimposed her own high key range to the subject.
There are artists who paint for national exhibitions. In those large galleries, their work needs to shout for attention to compete with the paintings next to them. Then there are the book illustrators whose work is seen from a very short distance. Leila's work belongs in that category. To hang it, I found a spot in a narrow hallway, where the viewer's nose can be right on top of the painting to enjoy it.
When painting your next scene, give yourself a special assignment and see what happens. Good luck!
ABOUT SKY VALUES AND EARTH VALUES
If you wish to paint nature as it is, you need to remember that the sky is considered a light giver, while earth is a light receiver. Earth values do not project light, rather, they reflect it. Consequently, those earth values are generally darker than the sky. As photos 1, 2,and 4 show, this can easily be seen on an overcast day, but this fact is visible in almost any situation.
To prove this to yourself, take an index card and with a paper punch, punch out two small holes, about an inch apart. Although in the illustration a mountain value is compared with a ground value, you can see how the value check is constructed. This little gadget won't allow you to be distracted by details, because all you can see are the values visible through the holes.
Now, close one eye and, looking through the top hole, line it up with the sky, while lining the bottom hole up with a ground plane such as a meadow. See the difference in value?
Another way to quickly compare values, is to hold both hands out in front of you as if signalling for someone to stop. Move your hands together until they're just half an inch part. Close one eye and line the space between the hands up with an area where sky and earth meet. Again, you're eliminating details and concentrating just on value comparisons.
Of course, there are always exceptions to this earth-sky relationship. The major ones are man-made objects such as roads and buildings. (Photos 3 and 5) They can be the same value as or lighter than the sky. Natural exceptions can for instance, be sunny beaches, snow and of course, water, since it reflects sky values. Let your eyes and that value check be your guide.
So much for observing and painting nature the way it is. If you want to work in a less representational manner, you can manipulate values to your own advantage. For instance, you can use them to control where the center of interest will be. Where do you want the viewer to look? Comparing the landscape to a stage, YOU are the lighting director and can place your spotlight - hence value contrast, wherever you wish. Try a small preparation sketch first, before diving into the actual painting and have fun!


ABOUT SKY VALUES AND EARTH