Transcripts
1. Introduction: my name's Jennifer Warhead. I'm so happy to see you here in my class of learning about space. It is one of the most difficult art elements to explain. The difficulty is because it is something that's it's it's non tangible. It's just everything around us. How do we view it? How do we put in perspective? How do we look at how do we incorporate space in our own work? So I'm so excited to share so many things that I've investigated and found and put in this class. I go back to Renaissance artists, 19th century artists, a lot of contemporary artists, and we do three exercises. So we're learning the skills, how to work within space. And then our final projects dealing with landscape space incorporate all the special ingredients that make space work in a visual artwork. Who is this class for? Well, this classes for everyone, So join me and learning about space
2. Defining Space & Art Materials: welcome to learning about space. This is one of the art elements, but what is Space space has won the classic. Seven elements of art refers to the distance or areas around between, and within the components of a piece you consider art as an object and space as the environment. Space could be positive or negative, open or close, shallow, deep and two dimension or three dimensional Space is the most difficult art element to describe because it basically encompasses every type of artwork. So I wanted to show you in this class a really a visual journey of the diversity of art such as paintings, sculpture, interior design, photography and art installations. I've divided this class into six sections of defining space, and to understand it is to really break it down into shallow and deep perspective. One area perspective being landscape objects overlapping, creating a three D effect on focus detail. Cluttered, very dense versus open size and distance you'll find. With all of these, they do kind of overlap with each other, so it's really not cut and dry. Understanding the elements art really helps you to describe artwork, so we'll be focusing on what you're seeing, and this will help develop the use of space, capture and enhance with your own ideas. And within your own work, you'll find that space is something that you make decisions on daily. It could be in landscaping or choosing where you're gonna be placing your furniture in your home, but you're constantly looking at space and defining it. It is imperative to look at other outwork. Why is that? So you understand how it's being utilized. What's good, what's not having to evaluate. It really helps to improve your own work. And once we've evaluated it, now let's play with exercises to develop the understanding space. Because using the hands on techniques really does the whole aspect of the learning curve, what are the art materials you'll need for the class are definitely a nine by 12 sketchbook . It could be larger but not smaller. Pencils and pens, erasers, pencil sharpener, optional scissors and glue. Your choice of pastels, acrylics, magazines, fabric and phone materials, certainly with magazines and fabric, and that you might need your scissors and glue for that. So it's pretty, pretty diverse, pretty exciting. I'll see in the next section as we learn about space
3. Shallow & Deep Space: this section were starting with shallow and deep space. And with this, we're going to be viewing a variety of artists work dealing with the concept of water. So let's dive in. This is a painting by Henri Matisse. The water is being displayed as a jar holding goldfish goldfish in the centres your focal point, and you'll see him feeling a sense in depth of the star holding the goldfish because of the value changes and the coloration around it. If you look towards the top of the painting, the painting feels very shallow. That's because the value has changed, and also the color is almost transparent. And you have to remember that this is a painting which is two dimensional. So this is all illusionary, and as you further investigate going down to the bottom of the painting, it creates a lot more depth to it because of the value and color changes. Now let's take another artist weighing team ball with assembler concept and how he's supplying value here is within the glass itself. With the different value combinations, background feels very shallow. The glass of water itself has a lot of three dimensionality to it. Here's the 3rd 1 by Dwayne Kaiser, looks very three dimensional and even has that illusionary feeling of you can see the red pair in the background of how the pair is refracted. The values and colors that he's using creates a sense of three dimensionality in a sense of depth. Let's move ahead and look at the surface of water. This is one of my paintings, and you're knowing that there is a lot of reflections on top of it. You're seeing some of the weeds, and the grass is showing through the water, and it's really given you a feeling of shell nous. Although there's a lot of variety of darks and lights, Here's another painting of mine, and this is pond reflections. Do you really looking at the reflection off the sky? So gives you a feeling of almost glass and not that sense of depth. Although there's a lot of changes in value and color, I'd like to expand your horizons with this surface of water and go into the idea of wallpaper in a room so you have a whole different way of looking at. This is a bowl paper creating shallow in depth into this room now make it critical analysis of what you're looking at. Just take a few moments, and then I'll tell you what my opinion is. My opinion is that it is so busy the values in their don't change that radically, so it doesn't have a riel depth quality to it. But it has a more decorative quality than create an illusion of space into that room to make it more three dimensional. This is a painting by David Hockney. This still has a similar field, will be solved, the wallpaper and you're seeing the idea of an ocean. But this creates more of a sense of depth. Let's compare these side by side. Now, with the painting on the left versus the wallpaper on the right, you can see the visual aspects of it, the darks and lights. And when I say that the wallpaper has a decorative element to it, decorative meaning, it has a very flat feeling to it, and it has almost a pattern effect versus something that has a more of a three dimensional field. Here's a painting by David Hockney. Here he is, looking through the water, so certainly having that refraction of the body lower in the pool. It's certainly in creating a sense of depth. And the death is also created because the figure is a lot smaller, as you can see, the depth even going out onto the landscape so depth could be created in so many ways. I thought This is very interesting information to share with you. David Hockney. Sports of an artist's pool with two figures that we've just seen was displayed at Christie's auction and november 15th 2018 when it was sold. It sold for over $90 million at auction sale record for living artists. So that's pretty exciting. There's a few more pieces by David Hockney. This is called a big splash. You see a little bit of movement of the splash of the water, but there's a lot of flat color areas that's giving a sense of a flat surface. Here we have a drawing that he's made here. He's actually painted the interior of his pool so that it gives another dimension. Next, just a lithograph that he's created. And here's another one as well. In a lithograph is a former print make the images that getting very flat based and looking very shallow. Here we have a French artist that's dealing with water. He's done several things within this exhibit, but I just wanted to show you one of the pieces I thought was very interesting. There's ceramic bowls that are placed on top of water, and this is an actual installation, the temporary piece of artwork. But what makes an interesting When these bowls move around and collide, they make a noise to them, which is almost like a wind chime, so it creates a whole different effect. This is definitely three dimensional and encompasses space. Here's the insulation piece of the Museum of Contemporary Art in Japan, and we have a viewer looking down into this pool and you're seeing figures in there and the figures air walking around any thinking, Whoa, there's people above people below. And as your the low, you can look up and really visualize this holding encompassing space is pretty dramatic, I think an amazing dealing with water and depth, the space. I've done a lot of sailing, and I've always been intrigued by the water and how powerful it is on top of the water. But I've always been fearful of just the depth of the water. What's below me, even though I can swim very well. It's just that idea of the unknown. So this is given effect of shallow, deep, just kind of a cutaway of looking at water. Here's the same idea of cutting through the water since a mural I had done keep was Florida . Here's a painting by Sweeney that she can almost get lost in the underworld. Feel that depth Belus Examine visual depth with the deep sea of photography. This is a beautiful photograph by seven out. This is considered a sculpture piece, and it's digitally exploring the organic interaction of data from the Black Sea. By the size of the reflection on the floor, it certainly in capital eights you. There's another sculpture, Peace. Although it's not kinetic, it certainly has that feeling of motion and has a three dimensionality that it's built up. It comes from numbers in geometry, but it really feels like water and movement. I found this piece fascinating. This is architecture. It's called the Twist Art Gallery in Norway, and this is built on top of a river, so it's dealing with water, and the gallery is inside it So it acts like a bridge and a gallery. Definitely three dimensional space. Well, that was fun. Learning about shallow and deep space. So let's take another journey. Enjoy me for overlapping to create space.
4. Overlapping: in this segment on space, we're gonna be looking at overlapping and what is overlapping? Well, an arts placement of objects over one another in order to create the illusion of depth. A good examples in condenses work on circles and circles. As you can see, the circles have a transparency, so they have an overlay and changes the value as each circles on top of each other, the placement as well as the coloration and the overlapping quality. Given the illusion of depth, the circles here have more of an opaque quality except for the ones more into the center. Next to the blue circle, The darkness of the background really creates an illusion of depth. So as we go through each of these segments, there's going to be, and this is the term overlay, an overlapping of all the ideas of how to make art and space of a few pieces by leisure. And these have certainly opaque quality and have an illusion of depth because of the darkness on one side of these objects. But you can definitely say the overlapping qualities and define what's in front what's in back and has a very shallow feel to it no leisure styles, kind of a personal Cubist IQ approach to painting, and in here he has a lot of repetition is shapes, and you'll see a distinguishing factor of smaller rectangular shapes as they go back into space. Here's another one of leisure's whom or simplified, but you feel that rhythm of the shapes in the center part of these waves that draw you to go backwards overlays something in front of each other, so its placement things more forward and going back. Let's get a little bit more complex. Here's a painting by Thomas Hart Benton, American painter. In this particular painting, it works so effectively of the idea of overlapping here the factors that are going on in here. You have the lady in the pink dress on the left, which is your focal point, and she is looking to the cowboy to the right, the cowboys looking at the local motive in the back, and then you have the figures to the left of the local motive. There's a full sweeping of going around the whole piece and ending up into the center. What makes it fascinating. With the overlapping, the figures become smaller as a received back into space. So that's creating that illusion of space. You'll notice the size of locomotive to the figures in the front. Here's another one by batons cradling wheat Can you find the focal point in here? You are correct. It's the farmer and the right hand side, grabbing and cradling that wheat and moving you along to the left up into the sweet being tree and bringing you back around. Look how well you're doing. You can see the recession of the hills going in the back and getting smaller, and this is what's creating that wonderful space Now. We viewed overlapping through Kandinsky's transparencies and then with Leisure's. He had that rhythmic flow of similar shapes and batons work of diminishing sizes of shapes . I'd like to introduce you to a master Joanna's premier to show you the approach of space in between the objects. Let's start with this painting we have overlapping, especially the dramatic hanging of the drapery fold on the left hand side, and as you look through the painting, you certainly have the figures overlapping and your cabinets and a chair. But what makes it so interesting is that lighting source that goes in between and the technicality of the visual values that change throughout. I have a couple more than are very similar to this, such as the music lesson, and you have a different feel of the light source. Actually, you have mawr of the like coming in, and it's giving a warmer town, so it's changing that effectively. Look at the of the base sitting on the drape brief, and then you have a cello back behind how everything's laid and placed in such a manner that you could feel that you could walk around that table in front of that chair. Here's another one. How dramatic the figure is, that's of the man front, the officer very dark. It's really dramatic, really feels close up. And then the softness of the woman, the laughing girl to the right of and lastly with the interior is this one with the girl reading how soft that is. Look at the drapery fold of the softness of the yellow Dre people versus the 1st 1 we saw that was so dramatic and the detail ing of all the elements that are below her. On the ledge. Here we have women, the water jar. It is so beautifully done with composition how it flows through. You have tragic colors of the yellow, the blue over dress. The brother drapery folds there so much that's correct. That's going on in here, and it looks such a subtle softness to it. But again, it's at light source, especially the water jar that she's holding on to versus her dress. It's just phenomenal if you ever get a chance to see his work do, because even up close is just fabulous and seeing it this way and the milkmaid, the intensity of color, softness of the background. So you have a lot going on, and it's pushing it back into space. It feels like there's a shallower space than what we had seen before, So space is pretty much defined. And now you see the milkmaid and the table that there isn't as much space in between her as he had seen in the other ones. Here we have the lace maker very close and unified, so you definitely have shallow space. But you can definitely see what's in front and what's behind. We're gonna continue with overlapping space because it's very multi layered in the next site but will cover overlapping, using just one theme, which is lemons in a multitude of ways, and that segment will tie us into some fun exercises their hands on, so I'll see the next section.
5. Exercise 1 - Cuts Outs: in this section, we're going to be overlapping space using cut out. So these will be magazine cutouts. It'll show in just a few minutes. Are overlapping. Thing will be lemons. Let's start with burn bars. Still like the lemons. He has a very formalistic composition already going on here, which is a triangular or which they call peer Middle because it's very three dimensional, although I do want it emphasize that composition is always important to be thinking about anything that you're creating are making. Now let's go back to Rome. Hours work with this still life. What are the important elements here? Here we have the lemons in the bowl creates a detail where the background is very unfocused . Important part of this painting is working with the colors. You have complementary colors, the yellow versus the violent. Let's explore this painting by Jacob. The focal point is the lemon that you see almost dead center and a little bit above there. It's just a full lemon on its side. Up above the lemon is being peeled and has a wonderful curve to it that leads you to the lemon that's on the table with the next curve the color playing here are the pomegranates on either side of the painting, without beautiful red on the contrast ng of the leaves. There again are complementary colors that really hold together this composition. Next, we have that pure middle design again, and we have a sense of depth, not extreme death. And the focal point is the lemon slightly peeled to the bottom, right. This is what's called anomaly. It's something that Stepford within a design, so that peeled lemon really stands out in the composition, giving it the focal points. Photograph buybacks, photography. A split lemon that you see on the right really creates a point of interest because it's so much different from the other lemons. The reflections also give it a sense of weight that's being placed on the table, though you don't see a table there at all, and it creates horrendous depth because it almost goes into affinity with the darkness in the background. Now, in the painting by Jeffrey, we see a difference going on here. It has such a quench to it, so it actually gives you a feeling more so than the other lemons. So you it's has more of a tactile quality that you could almost go in there and want to touch it and almost feels that soured nous in your taste buds. Let's go into this one also the same feel as he saw in the last painting, and we have the pure middle design we have that see through quality. You have this unfocused background giving a sensitive divinity and that shadowing effect, letting it sit on a table and given it some balance. So all these things are being combined together in this piece, and then we have something so much different by royal inches side that it becomes very flat . Using this pattern effect and also the linear, flat color areas really detaches yourself in the piece and doesn't invite you as you saw in the other pieces. And then we have the less one here by Mary Lou. I think it has a beauty to it. We have the complementary colors, overall softness to it, off transparent colors. Now let's jump right into greater own still life. I'm just working with three limits. You could choose more if you want to, but keep it at on odd number. And if you don't have lemons, you can use other type of route like apples, strawberries or something like that. And since this is about overlapping, make sure your fruit overlaps in this exercise. I want you to consider these elements to work with your light source so it has a three dimensional quality. Teoh piece your color. What color is your gonna be choosing with your magazine cutouts. Shallow and depth pattern texture a focal point and definitely, always be considering your composition. The materials. You'll need our scissors organ, Exacto, knife, a pencil pan and glue magazines of your choice and a sheet of paper. Just go to your magazines for different colors, values, patterns and texture. You can cut out, tear out, use your exacto knife, just get a variety of images. What's great Working with cutouts, it's really the process of overlapping. You have to build on top of each other. The best way to start this is starting from the bottom up, so we're doing our background trying to fill in the whole page. Really have fun with this. There's no exactitude. Explore. Try different variables with this because you can always go back and change access to get imagery for your fruit. I look at each of my lemons and I'm going to draw them out with my pencil. I'm using a very sharp pencil, so it's really just indented the page. I've decided my main color I'm gonna use is yellow, although I'm doing a different values within it so I can have different changes and create depth as it goes back. Doing these hands on exercises imperative to learning about art Here. You're not so concerned with edges and lines and making things beat and exactitude. But you're having fun with this, and this is really part of the learning process. Now cuddle the limit that the furthest one back, but I'm finding that it needs a little bit darker in the background to let it have more depth to it. So I had found this and I'm going to glue it my glue stick and place it right on top. They're when I place my lemon. I have a nice value change right behind it, kind of a shadow effect. Here's my second lemon them in a place. On top of that, I'm overlap E and notice the shape of that and then my 3rd 1 so looking at this. I'm thinking there's something wrong here, and I want to change it first. I'm gonna change my background a little bit. I didn't like what I had. Somebody used these two images and I'm gonna glue them right down. Now, I'm gonna introduce one more thing to use size. I'm gonna change the size of my for one because it's just too small. So I'm choosing a different pattern here. Rather light. I'm pretty happy with this. And then I'm gonna put the little dot that I see there in black of the end of my lemon. No, it's not having enough depth again underneath that one. It's a little bit too light. So I'm going to find another piece, place it right in there, make it a little bit darker. So that goes back in here. I have my completion of my piece. Here's my final art piece. Let's critique it. Starting out with the composition. Here's our focal point. This is the stem end of the lemon, that little black little end of peace. And I consider kind of my anomaly of the peace cause. It's very different. It's very small. So it's different from every other part of the peace path. The vision The nice thing we look at is 11 in the background here, it's a darker value. It also creates step back there. Next you'll see around these lemons. Different patterns and textures, which create a lot of different values and imagery are very flat, but it creates a lot of interest as well. In the middle. Lemon has a really interesting color to it, and it also has a light source that I've included. On top of it, we've put everything together. Let's look at it side by side with the actual piece. Certainly it doesn't look exactly like what we see on the right hand side of the lemons itself. But it's my creative imagery, and it was a playful, interesting, fun use, such of overlapping. I'd love to see what you've created posted in the project Taylor. The next segment, Exercise two, will include a demonstration of overlapping still using the theme lemons. But this time we're gonna work with the medium pastels. It's a lot of fun. Please join
6. Exercise 2 - Pastels: in the segment. We're going to be doing exercise to lemons and pastels materials you'll need for this segment. Ours pastels. At least a set of 12 my preferences, new pesto out piece of sketchbook paper. And if you wanna go with color, you could get some pastel paper Were to start out doing thumbnail sketches. Cesaire. Very quick sketches of the objects that you'll be drawing. This helps you get an idea of how you can compose your drawing, so I'm quickly sketching out the lemons and how I'm going to place him on my paper. I'm moving the lemons around just getting a different perspective and using overlapping because that's my main concern for this particular project. I'm filming this in real time, letting you know how quickly they should be drawn as quick as you can. All you're doing is making marks and placement of objects just a good idea of composition for this exercise. I'm only doing about four of them. It's always kind of good to do tandem them and then choose the one that you find best. And in a few moments I will critique thes, then let you know which one. I think it's working well. And why now? I'm going to review these. I'm trying to look at my negative space. So this is dealing with positive space and negative space. Is that negative space as interesting as the positive space. And so I'm looking around the lemons and trying to figure out OK, that one was too close and too much space there like what's going on here because the space is not as even. So this is the one I'm going to select. Since I haven't selected, I'm gonna be working from this particular drawing. Now I'm gonna place it on the paper. I'm selecting my pastels. I'm choosing just a few to start out with. I might add more to them later, but I'm using a few of the yellow tones and okra tones and blues for shadows and a red on a green just to offset it. And seeing how that will work, I can always change it no time starting out with the lightest value. So it's a very light yellow quickly sketching out somewhere what I did with the thumbnail. I call this gestural a lot of moving lines, and I'm placing in my next value in there. It's kind of an okra tone, and I'm using hatching lines and these air parallel lines that are placed next to each other. You'll note that, yes, I have speeded this up. I can't draw that fast. Although I do draw fast, I love to draw. So here I'm placing my highlights. Always remember, we're doing highlights having our light source. And here is a better view since you already know what my still like looks like. I'm placing my blue and they're giving it a little more volume and adding, Ah, three dimensionality to the lemons. Coming back with some more highlights. I notice my colors changing because the clouds air casting over. You'll see a difference of color hair and putting in my shadows, really giving it that ground base and that weight to it, like we had seen before in some of the photographs and paintings of the lemons, and add a little more value in there. No, too subdued the green. I'm not too thrilled with it because it doesn't really show much, so I'm gonna try now with the orange and see what happens. There is kind of a red orange and placing in their, uh, it's not coming out the way I had thought, but maybe I'll use this color in another way, So I'm gonna put that down for right now. I picked up a violent I need a little more intensity in here, adding a little more value and then highlighting adding contrast to create more of a three dimensional form, a little bit of orange because I kind of like that when I saw that next to the paper. So that's giving me my compliment colors against that blue like what's going on there, Coming in with some detail work. Careful getting to linear knows I am getting these lines inherit. Try to get up very close with another color to it. So it's just not isolated in space but creates more of a form than just a a line, as you could see in the upper left hand side. I'm just adding softly that line there, and it's a more off that orange and saying OK, unfinished. Almost. It's always hard to know when to stop, but I feel like I've completed what my objective on this particular piece was. So I'm pretty pleased, so I'm stopping right Now then, let's critic this piece. I've taken a little more attention to the colors I chose and related more to the object that I was working with, as well as my composition. Handle more strength to it and start with what I did with my composition. Pretty much appear middle design, So I I have a formalistic composition. I have some cropping in there. I have my focal point, cause that's my isolated one that's different from the other two. I have my path, a vision that goes up to the upper one and around. So I'm very pleased that it's you're seeing the whole piece here. The other elements that I found in my piece is I View is really shallow space. My color scheme that I've used is try attic tragic meaning. It's the yellow, blue and red on that try out on the color wheel might by applying color on top of each other. I graduated the value and tones to create more of a three dimensional image and texture. I create texture just by my hatching lines. My focal point is there is I showed with you before. My composition is pure middle. Now I'm gonna introduce one more element to this is my overlapping. That I have in this particular piece creates a sense of tension. It is really not overlapped enough that it feels strong enough for one in front of the other, but it's close enough that it's kind of touching. That creates a sense attention. And that's what gives me my path. A vision when I look at the isolated lemon and moving up into that tension area so overlapping can create another rhythm to your piece by using tension in there, I hope you enjoy this. Our next segment will be discussing detail and unfocused space usages. And if you really enjoyed your piece, I hope you don't to be in the project Alice see in the next section.
7. Detail & Unfocus: and this segment, we're gonna be covering detail and on focus. We're very used to seeing detail and unfocused in photographs, because through a lens it's usually fixated that the detail ing is up close, and as things go back into space, they get more unclear and unfocused. But with the lenses of our eyes, we have a lot more variations and can really see the distance much easier. Let's start out this visual aspect of looking to an artist's eyes, starting out with Turner's paintings here. He's really dealing with color painting. He's considered a romanticism, but your imagery in there is very unfocused. What happens here is color portrays are very important element. This painting is titled Mysterious Yellow, and it certainly is when things are unfocused. They have a mystical feel to that because it's uncertain what's happening around it and another one of his paintings. You can see the uproar of the ocean, and it's giving you a sense of me. There's a tornado back there. Maybe there's a ship in there, but it's very hard to really detect. The feeling is certainly surmounting of that mysterious quality. Here we have a bore relaxing one by Kensit and with this piece of that solemn nous and relax ation who have a little bit of detail ing right there in the waves in the forefront of this painting and almost feels it could be laying on the sail ship and just floating away until the affinity. It's one. By Manet ISS Such a dynamic composition of element. You have the forefront of the person with the oars and in the background of the lady and child. They almost have a transparency to them, and it fades out into the background space in there. It's so shallow looking and doesn't emanate that really Distancia hits we've seen in Turner's work. Here's a painted by ever Degas, and you'll notice some details, especially in the sleeve and little parts in there and a faded nous of coloration in the background. Here he's working in pastels. Let's see some more of his work of a Siris of dealing with ballet dancers, vivacious nous of the color and how it's placed in these pink skirts or two twos and the un descript nous off the background. But you get a feel in a flow and a beauty to all this here we see one using more of a very bright blue green, really. Look at that strong, dynamic usage of diagonal lines of the legs of the arms and even the shapes of these skirts as they flow up to the right hand corner. Here, with this more of a rectangular horizontal painting, that same compositional flow still comes through. You see the detail of the grid and her top on the left hand side, and I'll point out to you. That's your focal point. And then it moves into the middle section on all the way down to the back. Here it really Inter plays the spacing in between with size two mentions and flow very dynamic. We're going to see a series of club Manet's pieces, and this is his 1st 1 that I feel is very important to describe. It's called Impression Sunrise. He really was given the name impression Sunrise is when he submitted it. Teoh, a juried exhibition. People just thought, Well, it's just a impression of a Sunrise is not really in a sunrise, so this is definitely dealing with the feeling of unfocused Snus. You really need to be thinking about that visual appearance of space. As as we're really taught through through film, let's look at that detail up close that becomes that focal point, and let's check it even a step further. I'll be showing this work, but I want you to start looking at this work in a kind of a different way. Cover each of your eye, starting with one your left one and see what image comes through. Now cover the other I and see how the image looks. If you'll notice it looks very different. So your eyes are actually pulling together a depth perception, and this combined imagery is really our visual dimensional images that we see objects in nature and in space. So let's focus on this and see that space exists between them. So a two D painting basically reinterprets this idea. Perspective elements. I'd like you to look at the syriza haystacks and how they're arranged, and we're going to be pushing and pulling and manipulating. Color color becomes the important factor. The imagery is going to stay the same, but the color is going to change and giving that idea of blurry detail ing and envisioning and encapsulating space. So on each one you can feel and determine the light variations in time and day, even seasonal. Let's look at a bore. Modern painter Erin Hanson and her reflection of the landscape in colorations and breaking space down and dealing with the inside space of that figure foreground into outside space, which is pushing back into the ground, really get a sense of that contrast of coloration. And when you have a lot of contrast, it really emphasizes more detail. The less contrast that you absorb is that, and like this particular one, there's less contrast in the background. So it starts diffused together, have become warren focused and next to the ones that are very light and colorful, made like the judges and oranges and yellows they start to emulate. Forward because color that is warm tends to advance forward. So there's a whole another class on color and how that moves through space as well. But it's just thought these paintings were quite fascinating, giving such wonderful feel of just using broken colors as well as defined linear imagery such as this one of the trees. This one, I think you as you blow it up, it could almost abstract itself and that color variation just becomes so exciting and so enhancing of how it's using space recently. Don't want to forget looking at photography and these photographs air certainly so beautiful and something that we recognize it's It's certainly within our contemporary visionary scope of looking at things as we see this honeybee coming into one of the flowers , and it's a detail, so we certainly have a point of interest, and we focus on that. And then, as we unfocused all the way back that it becomes almost space into infinity. Let's look at another one of a mushroom, so it relies on importance, so detail focal importance as such as this one. You're looking at a city in the background, and then you have this beautiful flower that's blooming up above in this beautiful photograph by Sidarth, who leads safaris in India. It's a viral photo of the Tigris and her cubs, and it really shows a beacon of hope for animal conservationist. It's so beautifully done with the foreground of the tigers and her cubs, and then you look off into the distance, which really provides the look of hope by the coloration and the blueness and the airiness of the background unless league in this segment as some photographs by an K. Smith. And these are called the unfocused Siri's. So they're beautifully executed and has a whole different kind of modernistic approach and gives you an idea of abstraction in art as well. These unfocused pieces. You get an idea of the hallway and people in there, but you don't really get to understand what's really involved are going on. But the shapes and the cull aeration, the subtlety becomes really the important factor in here. Let's head on to the next segment and clutter and open in space.
8. Clutter & Open: this segment is on clutter and open spaces. We're going to begin just viewing compositions, using the concept of the clutter and open space through the eyes of artists. Let's start with this painting by Dega. Now that Carter that you see in there is definitely the flowers, so much activity. It creates a lot of confusion. And then you're thinking, OK, what's the open space with the open space? And this is pretty tricky, because when you're ever painting portrait's or taking photographs of portrait's, you certainly don't have a person very close to the edge looking out because it would exit you from the artwork itself. So what happens is that focal point. After you see this confusion, you look at the lady and you go way out into space so you actually are creating an open space that's even off the object itself of the painting. This is what makes the clutter so important in the composition. The focal point is the actual clutter. It's a person, you see. It's the largest. It's the most different part of it. And then you go into the lady's face from there is your path of vision. So I'm starting out that path a vision, using an orange arrow and showing you going off into space and coming back in coming back into the clutter. So this open and cluttered space works itself so wonderfully in this composition by Degas because he is a master composition. Now we have Henri Matisse. He's taking clutter into another dimension. If you look at this interior space, it kind of looks three dimensional. But if you really look at it, it doesn't the only way it looks. Street mentions by the woman that standing behind the table. Otherwise, it's hard to see what's going on. So it creates a whole lot of clutter, and it creates a lot of different variables. The design elements and almost gets patent oriented. Where's the open space? Well, if you look out the window, it has such a relaxing feel to it that you can loom out onto the small barn that it really shows a perspective element when you come back into the cluttered area again. The focal point is the woman, and if you'll notice the next path, the vision is going right out of that room because all that clutter we're going straight to the open space, and what also happens out there is you have the white of her apron as well zones. The same shape is her hair. And then we moved down onto the chair and then back to the woman. In this composition, clutter is almost a background. It's not the part of the design element, but it filling the space policies ends landscape. You'll notice that the approaches his painting technique to be more of a layer. In effect, he's trying to create depth with these geometric rhythms going through it. So these shapes become almost geometric and place together. So it creates a cluttering effect, which is called over stroking. So it covered the three types of cluttering that we seen in paintings. One is too many design elements, with Matisse, tightness with Degas and over stroking with Suzanne. Now let's move ahead and look at sculpture sculpture piece by Jean ARP. You see this wonderful figure to peace, and here's thinking Okay. Clatter open usually was defined by open and closed space, so this would be considered closed. Here's another close Peace, and let's look at a piece by him that we see open space. So we can see through the piece, and now we have that transitional contrasts between open and closed space. Here's one, by Ellsworth Kelly definitely presents open space. You have these large steel structures with the and you're looking at that is your positive space and looking at the space around it and in between it. So then landscape becomes part of it. Here we have a piece by solo wit. This one extends a little bit further. You have open and closed space, but now you've got clutter. And that would be the third layer towards the bottom of the ground, where there's things that are overlaying, and as you walk around the piece, it constantly changes as well. Here's work By Judy Path This is a different approach of using sculpture pieces. This is called installation Art. Judy Path has stated about her installation projects is to plunge spacey, void, edit the chaos into a dramatic and sensual environment. I think it's really great because she talks about space open being that spacey nous and the chaos all that clutter and creating something colorful and lively. Now here's a different medium, and this is digital art, and here's a museum that's opened up in the United States that it's directly for digital art. Museum of Dream Space Thes digitally designs Worlds that are creating here is reaction to motion and creating living spaces that really respond to you. So it's that's a whole new environment and your encapsulated into this space. It's look at interior design cause that's certainly dealing with open, cluttered space. Both could be effective and work with each other. Contrast each other here we have with those blue. Even the colors itself are monochromatic and certainly creates a open space. Here we have clutter with the tile formations on the floor as well as the walls. But then the architectural motifs of the table and the cabinetry are very, very simplistic. So there's the contrast going on there. We seen this before with the contrast ing wallpaper, which is clutter pattern oriented that we talked about before, and trying to just pinpoint a few colors of the purple on the pinks and everything else that you see in the furniture in the flowers here creates a lot of clutter, your eyes air shifting all over the place. If you took everything out, that place is pretty bland in open space. But having that clutter really contains it. But that could be an avenue of what you're wanting to look and having a dramatic area. One constant factor of dealing with interior design space is your happen to deal with the human and the size of a human and how they can get around furniture and such things. Is that so? That has to be the accommodation off space. It's a much different from sculpture as well as pain. In our next segment. We're gonna do exercise three and it's gonna be what we've been learning about with the clutter and open space see in the next section.
9. Exercise 3 - Pencil & Pastels: Yea, it's time for an exercise, but things we've learned about clutter and open and we're going to use aches materials that you'll need for this. Exercise our eggs. I suggest her boil. But if you're careful with, um 10 days, at least that's Gemini. Do smaller amounts Boulder. Place them in a pencil. Pencil sharpener. Eraser pastels is optional in two sheets of paper. At least the object of this exercise is to select open composition and cluttered and define it. Here's my eggs. I'm gonna be given the top egg that I'm gonna draw. First join a nice come to her line, and I'm selecting eggs that are close together but picking them out. So be interesting enough to give me a nice design. So this is what I consider open space. I'm gonna close this up a little bit, making a smaller area to draw eggs, and I'm going to quickly get in gestural eggs to do a multitude of them. I'm going to darken a little bit more, get dumped the shapes a little bit cleaner. I'm working with a lot of overlapping. Look at the eggs looking also the space between the eggs enjoying it very carefully. Also notice. I'm keeping my wrists very straight. Is I'm drawing this out and I'm doing some crop e breeding. This edge sees. Enjoying it through kind of gives me a nice viewing of the eggs first doing the whole page , although if you wanted to, you could do is, well, really enhancing the edges. Noticed doing these wonderful contour lines, these air constant, continuous lines. I really liked it, destroying it with the line. It did some shading there a little bit with value with pencil, but I didn't think it came out. Is interesting to say Monitor didn't really finish that one. So instead, I'm just going to be using pastels so you can do anything you like to do. You could do cut outs with this. This is just playing and doing overlapping and starting out with my lighter color and blocking it in and taking this kind of It's kind of a nice brown shade because I think it really looks attractive with the other ones. I can just blend the sense how fast it goes. So I think this is looked a lot more interesting than the other one and coming back darkening a little bit more and enhancing it and then coming back with the light just a little bit more. So is this a fun exercise? It's dealing with open space and close space and definitely eggs in space. And I'm really highlighting this one, giving it my focal point. I even added a little bit more darkness in their I really wanted that eight to come up just a little bit more. Next segment is perspective, and we're going to be looking at perspective and also landscape, so join in.
10. Linear & Landscape Perspective: this segment is on perspective, very important to space. Painting, painting and drawing are two dimensional artistic expressions. It is necessary for artists provide viewers with some sort of perspective in establishing size and distance paintings and joins. Now, perspective is the illusion of space. We're creating what we're visually seeing Things up close to us appear larger. This is one point perspective just to give you an idea of how you're seeing things I'm gonna simplified for uber's is the vanishing point. That is where everything converges into this. One point as we visually see this, the second thing is the horizon line, and that's our eye level. That's where we're looking from. We're not looking above this one. We're not looking below, but she almost feel like you're in the hallway looking down, so that gives you that idea where your place is, what you're viewing next is all the other lines radiate off this vanishing point, and we sent looking at paintings. He'll begin to see these things in there, which is kind of fun. And then from there, everything else is horizontal and vertical lines. Now let's see if you can find the vanishing point here in this painting by Raphael, The marriage of the Virgin Blue is where all the lines converging to you are correct. I even placed a green dot where the Vanishing Point issue can see all the lines conversion . Excellent. Here you can see the one point in Vincent Van Gogh's piece. Here we have another painting given you lines of the perspective elements that are in there . This is a fun painting. I think it really shows that extremity of that wonderful perspective. Here's a photograph. I think this really shows it. You could definitely see your vanishing point with that man in the middle and the horizon line, and those are actually the top parts off the railing, so it gives you the idea of what that horizon line means. Here's inside the airplane, and this is even one point. It radiates all the way down. If you look at the steps and how it goes around in circles, Energis get smaller as it goes away. And yes, there's two point perspective. I placed the two points or actually off the page, but you can see the lines on top of the buildings and the bottom of buildings converged to those points. Here's some paintings by Edward Hopper that are very interesting, that deal with two point perspective and three point perspective. That's a combination of two points and one point perspective. Together, you almost have to be a little ant beside a building to get this three point perspective, you and there are multiple perspectives as well. I think an artist that is tremendous in this. This illusionary perspective element is EMC Essure. Here's perspective as a relates to landscape, and it can change by size. Detail contrast neutral colors of blue than that overall value of lighting. We have the picture plane here in this diagram. The foreground are things that very close. They'll be larger in a more detail. You'll have the middle ground that be smaller, and you're gonna have more of neutral tones in there and then your background, which will be even more so. So color diminishes as well a sauce. Let's apply those components to this landscape the foreground, middle ground and background. Let's look at this painting by Surat foreground. The images are very large in comparison to the ones in the middle ground, and then you go far to the left into the background, so it really shows you more depth in space with your basic knowledge about landscape perspective. Let's just enjoy these landscape painting in spite. Coro, Pieter Bruegel, The Elder and a Few by Thomas Hart Benton. You can certainly see different changes of how they deal with color of the intensity, so that could definitely change in a personal way. Then there's aerial perspective, and that is when you're seeing things were away into a distance that really changes the coloration. You can see it move from the foreground all the way to the background. This is really achieving far distance. It almost looks surreal if you can't believe that you're actually seeing those particular colors. But there is a reason why the same idea why the sky is blue. There's the blue light that it's scattered in all directions. I, the tiny molecules of air in the earth's atmosphere. So blue is scattered more than any other colors because it travels so short with smaller waves. So that's why we see a blue sky most the time, and it's closer to the rise in the sky fades to a lighter blue or white. So you don't sometimes go back and really look at that. I think it's pretty neat. The intensity of the color is just so amazing. Really Look and see. Here's one of the Grand Canyon and you can see that just the softness of colors, it fades away. I'd like to share with you some of these paintings, I think our beautiful by Elbert Beer Stat. American painter painter of the 19th century. His paintings were of the American West, and they're just so beautifully done and massive paintings. I think they're just a really fine example of aerial perspective. In our next segment, we're gonna be learning about size in space.
11. Size: in this segment. We're talking about size. How size relates toe art in space. I'm going to begin this segment with Vermeer's painting of a Girl with a Pearl Earring 18 by 15. But because it's small, it becomes very precious Jewel like, and you can help to look at the beautiful detail ing. Let's look at Salvador Dali's. He's a surrealistic painter with the persistence of memory, this paintings only nine inches by 13 inches. The detail is just unbelievable. And let's look a closer on the watch of the left hand side. You can actually see little ants crawling on there. And here's a painting by Dina Brodsky, who does a lot of these small miniature paintings because she loves this style. That she works in the size of the painting creates its own space of its own. Now let's look at size differently in Georgia Keefe's work here, she's using a very small object of the flowers, and she's enlarging them in creating large paintings from them. So this is a different look at space. When you look at these pagans today, you think well, that's, you know, pretty normal looking because we've seen it so much of photography, but when she was painting, these is a really unusual. So she took a step further of seeing things in size by really detail ing and looking up very closely toe objects, beautiful colors that you see they created on abstraction as she gets larger with these imagery that you don't really see the flower anymore, but just the natural flow of the object itself. Size is very evident in these paintings in the French 19th century, which is a period of romanticism. On the very far left, you see the raft, Medusa by Jericho and you see it so dramatically done as the pain to the right, Just above the young gentleman, you see a painting called the Liberty leading the people by Dellacqua. These paintings are giving that feeling and you're going to be a part of that painting. So the size is very important. This is a painting than done in 1937 by Pablo Picasso. It was commissioned for him to do this. This is called Guernica and Gurney Koza, small town that was bombed and he was commissioned to get the feeling across really is shown here for how massive it is. I went and saw it, and I've always seen it in slides and things like that. You were actually in the room with it. It has so much power to it. He's painted in his Cubist IQ manner, and this is actually done in black and white graze, which even makes it a little more powerful because it has that almost deadly feel to it because there's no color there. But you can see death crying all this symbolism that's working within it. Beautifully composed painting by Pablo Picasso Here we have paintings by Claude Monet here , there and captured enough in this round room so you can actually sit down and and feel the presence of Colin Manet's paintings off lily ponds. Let's move on to action, painting the actual aspect of painting on canvas and just having it flow so that action needs to be large and it's very expressive. This is by Lee Krasner, who's also married to Jackson Pollock, who also did a lot of action painting with these large, massive paintings in this painting by the T's color speaks for itself. It has a presence by itself because of the massiveness. It's very burying, capturing here. These colorful silk screens, as Andy Warhol has reproduced in a multitude, almost becomes pattern form, but how interesting it is when they're side by side and the color interaction within them. Obstructions were mainly large, not all but they were to really make it impact. The Spolar they were. They become more jewel like larger. It's more most atmospheric and space. Let's go step larger. And that's mural art, these air paintings on the side of buildings that you've probably seen so their remarkable add such flavor and interest to different counties and cities. This is with the youth center. Let's touch base a little bit with sculpture. These are pieces by Oldenburg and their everyday items that you would normally see. But they're massively large, so they really make you take a second look at this strange one. This is by Lawrence Arjun. This is in Denver, Colorado. You can see people to the left. This bears about 40 feet high, looking into the performing arts center. It's titled I see what you mean, and you really have to understand when you go inside there. That's the really full effect of it, because sometimes if you're in a cabin up in the mountains. You might see one of these bears outside your window. I thought it was pretty fun. There are so many things to view. I'm just touching base on things. And next is Robert Smithson, the Spiral Jetty. This is on Salt Lake right now. You can't even see it anymore, but you can see people walking on it. Land art and last in the Siri's about size is Christo's work here. He's wrapped plastic element around these islands. He just running to really create something really out of the ordinary. But his whole aspect of his art that he was making was kind of a social statement because he had to go through a lot of issues with people in government. Just place these installation pieces cause they didn't stay for very long. They were installed and then taken down. So mainly his work was photographs after was up. As you can see, part of this mountain is blocked off. Next is our project for the class. Let's make space work in our art
12. 'Space' Project Description: Now it's time to put everything together. We're gonna do our final project. This class project is a really fun hands on painting that it's combining all the ingredients that we've learned about the art elements space we're going to be using the concept of how the artist Giorgio keep handled the use of space of flowers. She depicted them up close and detailed on large campuses. We're going to try to incorporate all that we've learned such a shallow in depth overlap being value on focus and detail, Qatar and open perspective in size materials. You're gonna be needing our flowers. You can do a couple of them or just one. I'm gonna be working with acrylics and brushes a water container paper. But you can choose to work in cut outs or pencils or pastels whatever you want to choose to work with this project. I just wanted to work with Acrylics Week at an avenue of seen. All the different media in this class really try to choose medium that works best for you. You know, maybe you want to delve into something new, that great because anything that you do new always helps and enhances your artwork. If you go a little bit outside your box and just explore with something, it's always great. Choose what's going to be interested enough to really enhance your skills. The project will be watching me paint what I have selected, and I'll show you everything through with this. This will give you an idea maybe how you can begin the process. This is not a step by step demonstration because you want to really enhance your own work and do it your own way. Investigating, trying and pushing new skills and challenging yourself I've selected the paper to work on is gonna be butcher block paper because I thought, Well, I haven't worked on that in a while and I thought, Well, that'll be fun. I've chosen my flower. I'll show you that you should work out thumbnail sketches, although that I don't in this particular project, I just I have a tendency just to go directly on it, make sure to apply all the ingredients of making space into two D. I think I've incorporated most of them into mine, so I'm pretty pleased that and draw your image from front to back. I'll show you that and then painting. I paint from back to front so you'll get to see all this. And then I can't wait to see your project and definitely put the project calorie. This is the book where I've chosen my images from for you to be seen here in a few minutes , as well as a quote that I will be taking from this book within Georgia. O Keefe's paintings she explored the idea of picking up things are around where she had lived and found beauty in them. She enlarged them because she wanted you to see the beauty as well. Here's a quote from George E. O Keefe. Ah, flower is relatively small. Everyone has many associations with the flower. The idea of flowers. You put it in your hand to touch the flower, lean forward to smell it, maybe touch it with your lips almost without thinking or give it to someone to please. Um, still, in a way, nobody sees a flower. Really. It is so small. We haven't time and to see takes time, like to have a friend takes time. If I could paint the flower exactly as I see it, if nobody would see it when I see, because I would paint it small. So I said to myself, I'll paint what? I see what the flowers to me But I'll paint it big and they'll be surprised into taking time to look at it. I will make even busy New Yorkers take time to see what I see of flowers. See, in the next segment, we're going to start our project.
13. Project (part one): Space project, Part one. I bought this at a store. A nursery story purpose leaving there was nothing Was Looked like normals died. You know, when things were like 10 cents. I'll just get it. Well, how beautiful. It's just bloomed up to be and how little it is. So these are the flowers I'm gonna choose to do. Working with space. Start out just blocking in my area. The's This is what I've been working with lately Are these very small pieces that so I want to go large just to explore a little bit more. I dio my sunrises and sunsets every day out of this studio. I'm thinking of doing on two of these together a little bit of it. So can I try to think you should be really do the thumbnail sketch. I'm just gonna go right direct with just wild today. So gonna start right here. I think this will make my largest one right here. So I'm thinking about size. I've just spent this part up because I just placing things very quickly, very gestural, like a large thumbnail sketch. - I have things right beside me that I've already done. So I'm gonna bring it in about writing here. I'm gonna look a I think this one. I like the likeness, a little trees, and then I'll have that lighter background here because this is gonna be so pink a lot of deep green in here. I think I like how that moves. Okay, I work on paper plates just easier. So I'm just putting the colors. I'm gonna put in the background. I'm gonna work from the background. Forward even line drew the other way. This is having pain, and I have larger brushes to work with. These are very inexpensive. So I'm gonna take my largest brush first dipped in the water And is that before this would be like this color care. So I'm going read and you covered. Just you'll know. Now you'll know that this charcoal is gonna blend into it's pay me day. Okay, so I know better here. I asked for lots of water. I think you probably ask G what kind of foreign you have blown you. I have carpet. It's already room. I can drip. This'd just which brought paper. So it's absorbing quite a bit of this pain going back with because it just so it is. But I chose not to. Jesse would have been kind of a wife. Plaster mixed with aloof, but just greens, but by late forms. Woo, that's wild. And I've You're painting. What? What about? Hey, Thank one area. It's good to pay someplace else. So that it close together. And since the sun's coming from behind, I'm gonna lighten up the sides of ease. Little floods in here. Get stands here. Just okay. Oh, fun. Okay, here. I'm gonna add one more green down here. So I wanted to know a little more blue that I'm gonna get a doctor color right here back here. Just changes right here. I have filled in a yellow green in the middle ground in the background is really deep, bluish green. Just giving an idea of the tree formations back there. Redd's And here, that pretty right. I'm pretty excited about that. That will be my contrast color against all that greens. That kind of works out pretty well. You know, doctors here and at the edge flight. It's not things that color that I want right now. We're gonna go just put this color and first and more of this violent in there because it's close to me. I can see the colors remember the color are a lot brighter as their closer off to you. Then I have his little bits and bulbs, but I'll see the next segment, which is Project Part two will be finishing up my painting.
14. Project (part two): final project, part two, creating a little bit of death. He was going on here pushing this back into space because that's what this is about. Space here gives a much more depth. There's happy that over the blue. And I'm gonna take a little bit of the gente do a little bit. See how nice that has been in L a gentle. Here we go. Get, like, a nice P. Have you those colors. Whoa. So now you're getting a violent going to. Now, lift up my flower. Put where I really wanna put these colors here. What? So I'm gonna add a little more gentle tortoise? Okay, A little bit closer. Come. Oh, here we go. So let me working on this. A bit of flu. Lots of that much. A little bit of white so we could go right over, please. Wow. Those colors are really starting to stand out here. Make this a little floor in this one. Yeah, like that number. Just use a few colors and we're finishing this. Stand it on here. Start with my right. Can I see writing here? Very light. And in here, do it over on the other one. from here. Sounds like Angel. I loved it. Look at things and see what they remind me. It's light right here. A little more. My magenta in there. Handle Open. Oh, I've got some. Great. Right Here. Finish that just cause. - Okay , All done. Here's my family project. Lighten it up in a few areas, but this is my final piece. I hope you've done a terrific job and learned a lot from this and please posters in the project gallery. And I'll see you in the next section, which is just a few moments of final thoughts with me.
15. Final Thoughts: thank you for being here to hear my final thoughts. Well, it almost looks like this is growing right out of my head there. So let me move over a little bit of those things to look out when you're taking photographs that you have things growing out of your head. Well, I hope you enjoy the class. I sure enjoyed teaching it. I thought it was fun and exciting and wonderful, and I'd love to see your project. So please post it in the project gallery it be great to look at it. And if you would like me to crew ticket, you could request that would be more than happy to please check out my profile page. I have a lot of other classes that I teach it. Be wonderful if you left a great review, keep painting, keep being creative and thanks for being here. And I hope to see you next time and goodbye
Jennifer Moorhead, Artist, Art Professor, and Entrepreneur
