Monday, March 24, 2008
Jazelle Hunt's pics
These pictures have been taken over time, and my "theme" or focus is relationships. Hope you like them!
Sunday, February 10, 2008
The Principles and Elements of Art
Here are the Elements of Art and the Principles of Art from two different sources, we will discuss these in class the week of February 11, 2008.
THE ELEMENTS OF ART
(http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ElementsMain.htm)
The Elements Of Art are the building blocks of art creation. They can be analyzed, organized, and manipulated by artists. They are the VISUAL LANGUAGE of art. Each of the Elements is important. When looking at a work of art, see if you can identify which Elements of Art the artist stressed, organized or used to express a message or to create a mood.
LINE
How many types of lines can you make? How important are lines to our environment? The artist recognizes the power of the "Line" when he or she creates a work of art. Let's take a more detailed look at "Line" and its impact on our world and the world of art.
COLOR
Many people would argue that the Element of "Color" has the most effect on a work of art. Consider what our world would look like if everything was black, white and shades of gray? The effects of "Color" on humans has been studied many times. Artists have known that "Color" has a powerful effect on their works and on the impressions of the viewers. Let's see what "Color" is and just how it is used in the visual arts.
TEXTURE
An element of art which refers to the surface quality or "feel" of an object, its smoothness, roughness, softness, etc. Textures may be actual or simulated. Actual textures can be felt with the fingers, while simulated textures are suggested by the way the artist has painted certain areas of a picture.
SHAPE
Shapes are everywhere. More common ones are given names such as circle or square. There are an infinite amount of shape possibilities and combinations. Let's see what role "Shape" plays in works of art and just how an artist uses the Element "Shape".
FORM
Forms are often called the "three-dimensional shapes". Unlike flat, two-dimensional areas, Forms are represented as "three-dimensional". The great illustrators and sculptors of the world of art have mastered the Element Form. Let's see how they did it!
SPACE
Often we do not consider Space when we create a work of art. It often just seems to happen. Let's take a look at how Space effects a work of art and just how artists use Space to create interest in their works.
VALUE
Value refers to the lightness or darkness of a color. It also refers to how artists use other Elements Of Art to create a sense of light or dark.
THE PRINCIPLES OF DESIGN
(http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/PrinciplesMain.htm)
The Principles Of Design refer to the organization of a work of art. Each Principle interprets how an artist uses the Elements of Art, composition and design to express their feelings and ideas. By studying these, your own work will become more sophisticated as you will begin to apply this new knowledge to your own works of art. Let's take a look at each one.
RHYTHM AND MOVEMENT
The words Rhythm and Movement are often associated with music, dance and sports. We think of steady marching rhythms, drum beats and the pulsing sound of the bass on the radio as types of rhythms. The darting of soccer players, the graceful flow of ballet dancers and the artful dodging of basketball players emphasize Movement. Art also has rhythm and movement, a visual rhythm, a rhythmic movement. Let's explore the Principles of Rhythm and Movement more.
BALANCE
As humans we experience the need for Balance in our everyday life. We use it as we walk or run and to carry things. Balance is also necessary in other ways. We need to balance our awake and sleeping periods, our food intake and energy exports, and relaxation and stress. Balance is also important to a work of art. A balanced artwork leaves the viewer feeling "visually comfortable". On the other hand, a work that is not balanced creates a sense of visual stress. Let's take a look!
PROPORTION
The word "Proportion" means one part in relation to another. All people have a sense of proportion concerning themselves as compared to others. "My nose is too long for my face". "She has long legs". "His eyes are wide set." All of these comments reinforce the idea that we see and have opinions about the relationships between one thing compared to another. Artists use their sense of Proportion to make statements or express a particular feeling about a subject in a work of art. Let's see some examples.
VARIETY AND EMPHASIS
Variety keeps life interesting. Imagine if everything in your life was the same, day in and day out. Imagine the monotony! Artists also understand the importance of Emphasis in their work. Usually one part or area is given more detail to enhance that section. Click here to see how artists use Variety and Emphasis in their work.
HARMONY AND UNITY
"Harmony" in music results in pleasing tones to the ears. "Harmony" in art results from a combination of related Elements of Art creating a pleasing work for the eye. "Unity" infers that the work of art is presented as a " whole". When a work of art has "Unity", the viewer sees the work as a whole, not in separate sections. Let's go on to see just how this works!
ELEMENTS OF ART
(http://en.wikipedia.org/wiki/Elements_of_art)
SPACE
The use of space and room in a piece of art. This also is also inclusive of negative space.
VALUE
Sometimes combined with color, value describes the lightness or darkness of a color. [2]
SHAPE
The 2D representation of an object or idea.
LINE
Line is the movement of dots. In art we say there is no line in nature; it's only a color difference. There are three types of line
1. Actual line: It is form of line drawn by pen, pencil or color etc, it may be straight or curved
2. Implied line: It is not a proper line but helps eye to travel along the art piece. e.g. dotted line on road
3. Psychic line: This form of line has no physical value it is a psychologically created line e.g. when we are pointing something out, our eye travels from our hand to that object as if on a line.
FORM
Form is the three-dimensional counterpart to shape. There are two types of form. Illusionary form is the form created through use of concepts such as perspective in order to show form on a two dimensional work, whereas real form is the form seen in sculpture and other three dimensional art.
TEXTURE
Texture can be either real or perceived. Real texture is how a work of art actually feels, while perceived texture is how an artwork appears to feel.
PRINCIPLES OF ART
(http://en.wikipedia.org/wiki/Principles_of_art)
MOVEMENT
Movement It is a way of combining elements to cause the viewers eye to move over the artwork in a specific direction. It should not be confused with actual portrayal of movement of an object within the artwork, such as a moving car.
UNITY
Unity is the perception of the parts of a piece and their relationship with the dominant or unifying element...
Compositional similarity, oneness, togetherness, or cohesion.
VARIETY
Variety is the quality or state of having different forms or types...
The differences which give a design visual and conceptual interest: notably use of contrast, emphasis, difference in size, and so forth.
BALANCE
Balance is stability produced by even distribution of weight on each side of the vertical axis. Like nature, balance is essential. An example is the human body.
EMPHASIS
Focal Point (also called emphasis) is where the focus is concentrated through design principles or meaning. To do this one develops points of interest to pull the viewer's eye to important parts of the body of the work
CONTRAST
Contrast usually describes characteristics of art elements in opposition from subtle to extreme or intense. For example, light areas in contrast to dark, highly textured areas vs smooth and contrast between complementary colors (those opposite on the color wheel).
PROPORTIONS
Proportion (sometimes called scale) describes the relative sizes and locations of objects in the artwork. It refers to the relationships of the size of objects in a body of work. Proportion gives a sense of size seen as a relationship of objects, such as smallness or largeness.[2]
PATTERN/ RHYTHM
Pattern
Showing consistency with colors or lines. Putting a red spiral at the bottom left and top right, for example will cause the eye to move from one spiral, to the other, and everything in between.
THE ELEMENTS OF ART
(http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ElementsMain.htm)
The Elements Of Art are the building blocks of art creation. They can be analyzed, organized, and manipulated by artists. They are the VISUAL LANGUAGE of art. Each of the Elements is important. When looking at a work of art, see if you can identify which Elements of Art the artist stressed, organized or used to express a message or to create a mood.
LINE
How many types of lines can you make? How important are lines to our environment? The artist recognizes the power of the "Line" when he or she creates a work of art. Let's take a more detailed look at "Line" and its impact on our world and the world of art.
COLOR
Many people would argue that the Element of "Color" has the most effect on a work of art. Consider what our world would look like if everything was black, white and shades of gray? The effects of "Color" on humans has been studied many times. Artists have known that "Color" has a powerful effect on their works and on the impressions of the viewers. Let's see what "Color" is and just how it is used in the visual arts.
TEXTURE
An element of art which refers to the surface quality or "feel" of an object, its smoothness, roughness, softness, etc. Textures may be actual or simulated. Actual textures can be felt with the fingers, while simulated textures are suggested by the way the artist has painted certain areas of a picture.
SHAPE
Shapes are everywhere. More common ones are given names such as circle or square. There are an infinite amount of shape possibilities and combinations. Let's see what role "Shape" plays in works of art and just how an artist uses the Element "Shape".
FORM
Forms are often called the "three-dimensional shapes". Unlike flat, two-dimensional areas, Forms are represented as "three-dimensional". The great illustrators and sculptors of the world of art have mastered the Element Form. Let's see how they did it!
SPACE
Often we do not consider Space when we create a work of art. It often just seems to happen. Let's take a look at how Space effects a work of art and just how artists use Space to create interest in their works.
VALUE
Value refers to the lightness or darkness of a color. It also refers to how artists use other Elements Of Art to create a sense of light or dark.
THE PRINCIPLES OF DESIGN
(http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/PrinciplesMain.htm)
The Principles Of Design refer to the organization of a work of art. Each Principle interprets how an artist uses the Elements of Art, composition and design to express their feelings and ideas. By studying these, your own work will become more sophisticated as you will begin to apply this new knowledge to your own works of art. Let's take a look at each one.
RHYTHM AND MOVEMENT
The words Rhythm and Movement are often associated with music, dance and sports. We think of steady marching rhythms, drum beats and the pulsing sound of the bass on the radio as types of rhythms. The darting of soccer players, the graceful flow of ballet dancers and the artful dodging of basketball players emphasize Movement. Art also has rhythm and movement, a visual rhythm, a rhythmic movement. Let's explore the Principles of Rhythm and Movement more.
BALANCE
As humans we experience the need for Balance in our everyday life. We use it as we walk or run and to carry things. Balance is also necessary in other ways. We need to balance our awake and sleeping periods, our food intake and energy exports, and relaxation and stress. Balance is also important to a work of art. A balanced artwork leaves the viewer feeling "visually comfortable". On the other hand, a work that is not balanced creates a sense of visual stress. Let's take a look!
PROPORTION
The word "Proportion" means one part in relation to another. All people have a sense of proportion concerning themselves as compared to others. "My nose is too long for my face". "She has long legs". "His eyes are wide set." All of these comments reinforce the idea that we see and have opinions about the relationships between one thing compared to another. Artists use their sense of Proportion to make statements or express a particular feeling about a subject in a work of art. Let's see some examples.
VARIETY AND EMPHASIS
Variety keeps life interesting. Imagine if everything in your life was the same, day in and day out. Imagine the monotony! Artists also understand the importance of Emphasis in their work. Usually one part or area is given more detail to enhance that section. Click here to see how artists use Variety and Emphasis in their work.
HARMONY AND UNITY
"Harmony" in music results in pleasing tones to the ears. "Harmony" in art results from a combination of related Elements of Art creating a pleasing work for the eye. "Unity" infers that the work of art is presented as a " whole". When a work of art has "Unity", the viewer sees the work as a whole, not in separate sections. Let's go on to see just how this works!
ELEMENTS OF ART
(http://en.wikipedia.org/wiki/Elements_of_art)
SPACE
The use of space and room in a piece of art. This also is also inclusive of negative space.
VALUE
Sometimes combined with color, value describes the lightness or darkness of a color. [2]
SHAPE
The 2D representation of an object or idea.
LINE
Line is the movement of dots. In art we say there is no line in nature; it's only a color difference. There are three types of line
1. Actual line: It is form of line drawn by pen, pencil or color etc, it may be straight or curved
2. Implied line: It is not a proper line but helps eye to travel along the art piece. e.g. dotted line on road
3. Psychic line: This form of line has no physical value it is a psychologically created line e.g. when we are pointing something out, our eye travels from our hand to that object as if on a line.
FORM
Form is the three-dimensional counterpart to shape. There are two types of form. Illusionary form is the form created through use of concepts such as perspective in order to show form on a two dimensional work, whereas real form is the form seen in sculpture and other three dimensional art.
TEXTURE
Texture can be either real or perceived. Real texture is how a work of art actually feels, while perceived texture is how an artwork appears to feel.
PRINCIPLES OF ART
(http://en.wikipedia.org/wiki/Principles_of_art)
MOVEMENT
Movement It is a way of combining elements to cause the viewers eye to move over the artwork in a specific direction. It should not be confused with actual portrayal of movement of an object within the artwork, such as a moving car.
UNITY
Unity is the perception of the parts of a piece and their relationship with the dominant or unifying element...
Compositional similarity, oneness, togetherness, or cohesion.
VARIETY
Variety is the quality or state of having different forms or types...
The differences which give a design visual and conceptual interest: notably use of contrast, emphasis, difference in size, and so forth.
BALANCE
Balance is stability produced by even distribution of weight on each side of the vertical axis. Like nature, balance is essential. An example is the human body.
EMPHASIS
Focal Point (also called emphasis) is where the focus is concentrated through design principles or meaning. To do this one develops points of interest to pull the viewer's eye to important parts of the body of the work
CONTRAST
Contrast usually describes characteristics of art elements in opposition from subtle to extreme or intense. For example, light areas in contrast to dark, highly textured areas vs smooth and contrast between complementary colors (those opposite on the color wheel).
PROPORTIONS
Proportion (sometimes called scale) describes the relative sizes and locations of objects in the artwork. It refers to the relationships of the size of objects in a body of work. Proportion gives a sense of size seen as a relationship of objects, such as smallness or largeness.[2]
PATTERN/ RHYTHM
Pattern
Showing consistency with colors or lines. Putting a red spiral at the bottom left and top right, for example will cause the eye to move from one spiral, to the other, and everything in between.
Monday, January 28, 2008
Robert Capa's Film Surfaces
"The Capa Cache"
By RANDY KENNEDY
Published: January 27, 2008, NYTimes
After some 70 years film from photojournalist Robert Capa's coverage of the Spanish Civil War has surfaced. The case with film follows a globe trotting story. The film also promises to answer some questions about the veracity of some of Capa's work.
Follow the headline link to The New York Times article, with multimedia presentation.
By RANDY KENNEDY
Published: January 27, 2008, NYTimes
After some 70 years film from photojournalist Robert Capa's coverage of the Spanish Civil War has surfaced. The case with film follows a globe trotting story. The film also promises to answer some questions about the veracity of some of Capa's work.
Follow the headline link to The New York Times article, with multimedia presentation.
Friday, January 25, 2008
Bernard "Bernie" Boston, 74, Retired Los Angeles Times Photojournalist, Was An Icon
Photo by Stephen R. BrownObituary used with permission of the NPPA
BASYE, VA (January 22, 2008) - Retired Los Angeles Times photojournalist Bernard "Bernie" Boston, 74, a two-time Pulitzer Prize finalist and an NPPA Life Member, died today at his home in rural Virginia. Boston is probably best remembered for his iconic photograph of a young Vietnam war protester putting flowers in the barrels of soldiers' guns during an anti-war march at the Pentagon in 1967.
Boston died from Amyloidosis, a rare blood disease that he's had since 2006, his long-time friend Ken Cooke told News Photographer magazine tonight. Boston retired from the Los Angeles Times in 1993, after many years of being their chief photographer in Washington. Before joining the Times, he was chief photographer for The Washington Star. Boston joined NPPA in 1965, and he covered every U.S. president from Harry S. Truman to William Jefferson Clinton. Boston was also a member of the Senate Press Photographers Gallery and a member of the White House Press Corps.
"He was an icon, and Bernie was once described as the darling of the White House News Photographers Association," Cooke said tonight. Boston had served as WHNPA's president four times and was a WHNPA Life Member, Cooke said, and the photographer was recently honored as a distinguished alumnae of the Rochester Institute of Technology when the school produced a retrospective of Boston's career as a book, Bernie Boston, American Photojournalist.
Boston is survived by his wife of 37 years, Peggy Boston. In 1994 the photographer and his wife moved to a mountainside home in Basye where they were co-owners of the Bryce Mountain Courier, a monthly newspaper where Boston was both the publisher and the photographer.
'There were the cowboy boots, ever present. The tuft of silver hair...definitely not gray. The smile, beaming like a Colorado sunrise. The nicest, cleanest, snappiest cameras, always a Leica amongst them," Boston's friend and fellow photojournalist David Burnett wrote tonight."The Jaguar, yes there definitely was the Jaguar. What other photographer owned a Jaguar? Can't think of one. Kind of hard to imagine that he's gone."
In addition to serving four terms as WHNPA president, Boston was vice president eight times, annual dinner chairman three times, and on the WHNPA executive board from 1973 through 1995.
In 2005, Boston told reporter Alice Ashe that he started taking pictures when he was seven years old growing up in McLean, VA, when his parents gave him a Kodak Brownie camera. He was a high school newspaper and yearbook photographer, and then after high school he worked briefly for the Photography Division of the Library of Congress before attending RIT.
After college Boston studied at the School of Aviation Medicine in the U.S. Air Force, and spent two years in the Army in Germany practicing radiology in a neurosurgical unit. When he left the service in 1958 he returned to Washington and went to work in custom photofinishing.
Working as a freelancer, he left Washington in 1963 to work at the Dayton Daily News in Ohio, then returned to DC three years later to work for The Washington Star and two years after that became the newspaper's director of photography. He worked there until the newspaper's closing day in 1981, then joined the Los Angeles Times.
Boston's "Flower Power" photograph of a Vietnam war protester putting flowers in soldiers' gun barrels finished second the 1968 Pulitzer Prizes to a dramatic spot news photograph by Rocco Morabito. The winning picture showed an electrical lineman giving mouth-to-mouth resuscitation to another lineman who had been electrocuted and was hanging upside-down atop a power pole.
Boston was also a finalist for the Pulitzer Prize for Photography for a 1987 photograph of Coretta Scott King unveiling a bust of her late husband, Dr. Martin Luther King Jr., in the U.S. Capitol Rotunda.
The National Press Photographers Association presented Boston with its highest honor, the Joseph A. Sprague Memorial Award, in 1993. The honor recognizes a working photojournalist who advances, elevates, or attains unusual recognition for the profession by their conduct, initiative, leadership, skill, and devotion to duty. In 1996 Boston was inducted into the Hall of Fame of Sigma Delta Chi, The Society of Professional Journalists. He had also served as chairman of the NPPA Freedom of Information Committee.
His work has been published in many books including "The Best of Life," "Life: The First Fifty Years," "150 Years of Photojournalism," "Life's Classic Moments," and a variety of textbooks on government and photography. He taught a photojournalism class at Northern Virginia Community College and at Rochester Institute of Technology.
Photojournalist David Burnett has written a remembrance of his friend tonight on his Blog, "We're Just Sayin."
by Bernie Boston/ The Washington Star Collection Copyright The Washington Post used with permission
Wednesday, January 23, 2008
Monday, January 21, 2008
Whiskey Tango Foxtrot
War photographer Ashley Gilbertson discusses covering the Iraq War, His photographs and his new book, Whiskey Tango Foxtrot. A followup interview and return pictures in VQR, The Virginia Quarterly Review. An NPR "Fresh Air" interview from June 2007.
Sunday, January 20, 2008
Henri Cartier-Bresson
Charlie Rose interviews Henri Cartier-Bresson, Photojournalist, who covered some of the most import moments of the Twentieth Century. A broad ranging interview with considerable discussion of his philosophy of photography and photojournalism. Cartier-Bresson coined the term "decisive moment". The Decisive Moment is a potent moment in time, captured photographically, in a way that conveys the dynamism of an event. Rose introduces Cartier-Bresson with a brief interview with Photographer Richard Avedon.
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