Visual and Audiovisual Arts 1 Student Book sample

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N O I T A C U D E Y R A D N EC O

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Building

Blocks

this is

your book

Reading and listening

ch unit

f ea The opening pages o

SDG. Reflection on and analysis of SDGs, such as gender equality, climate action, reducing inequalities, etc.

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We read and listen about the contribution of women in the development of geographical and historical fields all through history.

illustrating stories g

Reading and listenin

Tim Burton (1958)

r, director, produce ia, 1958) is a film is a Tim Burton (Californ in Wonderland ist. The film Alice c writer and cartoon His films are dramati literary classic. recreation of this as protagonists: ant characters fantasies with extravag represent and recreate of images that and real both is “We live in a world that events, a world characters and world”. ry fictitious, an imagina text. g words in the s to the followin 1 Find the synonym a) timeless b) over-the-top c) main-character and r style: Gothic have a particula , with Tim Burton's works al, poetic, magical highly emotion expressionist, cs, etc. strange aestheti ual images in audiovis of music and the The combination helps one identify es emotions and media intensifi characters.

or why not? Do

Why Burton's style? the story of Alice 2 Do you like Tim shown relate to

you think the images in Wonderland?

Did it make you feel? film? What did made? how the film was you think about

this 3 Have you seen

its I like watching Cosmos, a learnt really interesting. I've lot about space!

Speaking are based on books. of movies that movie Find examples of filming the think the style Explain why you matches the book.

Tim Burton? What other films by g Have you seen 5 How can watchin you usually watch? types of films do n? educatio your films help further

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Frame from the

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Tim Burton.

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Writing

The audios of each unit’s content are available at www.anayaeducacion.es

We write a variety of different styles and types of text about a subject matter of the unit. By practising different styles of writing, we improve the writing skills we need to do well in our studies.

Speaking We speak about the different issues that will be learnt all through the unit.

CONTENT DEVELOPMENT 1

Highly structured content with important concepts highlighted in bold.

Unit 2

BASIC COMPONENTS OF IMAGES

Sometimes a smile, look or gesture is enough to express our happiness or fears. The same is true for visual language; sometimes a simple stroke* or colour blot can show how we feel.

A blot, a line on paper, a brushstroke* footsteps in the sand, fingers in clay, a chisel on rock or wood... all of these actions leave a mark.

When these marks are organised, they can form shapes that can become images from the imagination or represent elements from reality, sometimes symbolically. Images are distinguished by their characteristics such as: shape, colour, texture and dimension.

ã 1.1 Basic components ➜ A dot is the start of everything, a basic expression, the smallest graphic element (called a pixel in digital images). A dot can have smooth or irregular edges, and can be different sizes and shapes.

➜ A line is the path of a dot that moves, and represents its movement. A line can be open or closed, curved, straight, wavy, zigzag or combined.

Maximum expression in a single stroke John Ormsbee (1913-2005), an American landscape architect, thought that each stroke transmits emotions, feelings and a general mood. What do your strokes look like?

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Understand, think and apply…

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Transform a space using only dots The word stroke can mean to punch, clash or blow. It also means to caress.

Brushstroke in painting has the same meaning. Jackson Pollock strikes the canvas with his aggressive way of throwing the paint from a distance. The classical paintings in Europe since the Renaissance use the brush as a caress.

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Imitate Yayoi Kusama (Japan, 1929). Use stickers with different colours, dots and different sizes to, transform a space or object into a wonderful piece of art.

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Wide variety of pictures grouped according to content to aid your understanding.

Examples of strokes and the feelings they represent: 1. Stability. 2. Dynamism. 3.

Expressiveness. (Taken and adapted from Mood Line, by Rikard Rodin).

Random blots and shoe prints on the sand make up different shapes; one is real, while the other is imaginary.

We can share our dreams and desires through images. Art, invention and creativity, are often metaphorical, and contain metaphorical images.

Art helps us explain the unknown, and what lies in our subconscious.

Understand, think and apply…

Competency tasks, split into sections to work on sub-skills.

Infinity room, created for the exhibition Infinite Obsession (2015), by Yayoi Kusama.

Reflect and respond

1 a)

Create with lines

Are you able to express something with a simple gesture, or just by a stroke?

3 Freely scribble on a sheet of paper. Then, make some lines thicker than others to create shapes. Decorate them with patterns, then colour them in and make up a story about them.

b) Describe the style of images you like to create. Are they real or imaginary? c) Are we able to be aware of our subconscious and express it?

What are your dreams?

Do you prefer straight or wavy lines? Wavy comes from wave, which means undulation. Other words with similar meanings are squiggly and wiggly: ‘A wiggly line’.

As a verb, to wave means to greet someone in the distance with your hand. Discuss with your classmates why greeting someone with your hand is similar to wave and wavy.

You can even cut them out to make them into three-dimensional sculptures, like the ones by Jean Dubuffet (France 1901-1985).

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1. Picture of scribbles. 2. Defined shapes coloured in. 3. Jardin d'émail (1974), sculptures

by Jean Dubuffet.

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A frame from Peter Pan (1953), directed by Wilfred Jackson and Hamilton Luke.

Your signature is your mark

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The icons included with some activities indicate the keys to the project.

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A signature is an image that accompanies us throughout our entire lives. Some are simple, geometric signatures, such as Alberto Durero’s signature (1), while others may be more expressive, like Picasso’s (2), or very elaborate like the ones used by certain graffiti artists (3). What does your signature look like? Does it represent you? Are you willing to create one to identify your artwork with your characteristic stroke and expression?

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Reference to checking skills from the “Learning to learn” section to carry out the task correctly.

KEYS

PROJECT

SDG

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SDG Commitment Discover the Sustainable Development Goals and be an active part of our commitment to make a more equal and liveable world.

Developing thinking Work on strategies for thinking: reflect on the content you are learning, generate ideas, organise them, debate them, explain them…

Cooperative learning Get involved in your learning and participate in the group’s learning; you will find that cooperating improves performance and harmony in the class.

Emotional education Get to know yourself; identify the situations that bring up complicated emotions and manage them with constructive, self-affirming experiences.

NEW SECTIONS

Artistic workshop

Unit 1

Activities with different cognitive levels to check learning.

Let’s create

COLLAGE

A collage is a technique that consists of pasting different elements on a support, forming a unified whole. When a collage is made with photographs, it is called a photo collage.

Materials

• The most commonly used materials are pieces of paper or photographs. If we want to create collages with relief, we can use thicker materials, such as cloth, cardboard or cork.

Travel through history 1

Mix the personal images with other images of people and social events that took place at the same time. You can also add comments to the images.

Personalise your folder

• As a support we can use thick paper, cardboard,

2 Make a photo collage on your folder that

wood or canvas.

represents you. Choose some personal images and others from magazines or from the media that are meaningful to you.

• Adhesive such as a glue stick or white glue. If necessary, staples or thread.

You can add other elements that you feel are important.

Process

The collage should show interesting aspects of your personality, what you like and your hobbies; in other words, it must be an image that says something about you.

➜ It is important to first make a sketch of possible ideas and then choose the most suitable one.

➜ Prepare the support and the background, which can

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be left as is, or be painted or decorated.

review

Reflect on the events and people that appear in your collage. Show your collage and compare it to your classmates’ collages.

collage (if necessary, you can cut them, fold them, tear or crumple them) and organise them on the background until you like what you see. Then glue them.

Learn about portraits prior to photography

chec

Capture an optical illusion

Unit outline

Unit 1

➜ Prepare the elements that you want to include in the

k your progress

Timeline. In groups, make a timeline of images representing your lives. Think of the most significant moments in your life and find pictures of them.

put the finishing touches yourexist, collage When photography did on not a byfamily’s 1 Artists create optical illusions, but you too can ➜ You3can

Glossary

capture one in a natural way by taking a picture. To do so, you must be a good observer and position yourself in the proper place. Look at the example and find another surprising image that makes you look twice.

A WORLD OF IMAGES

We learn the relevant terms that are underlined in the units with a clear definition.

Visual perception Visual communication

Look and see

Examples of personalised collages.

Richard Hamilton (1922-2011) and Pop art Pop art was an important artistic movement of the 20th century that challenged tradition and used images of popular culture as a way to reach out to people. As such, the main theme of Pop art is daily life and one of the most commonly used techniques is the collage.

At the beginning of the 20th century, Georges Braque and other Cubist artists were the first to use collages in their artwork. Several other avant-garde artists followed, such as Hannah Höch, as well as Richard Hamilton with pop art.

Communicating with images

Images and visual effect

painting or writing on the collection of images and memories consisted of portraits.

Diego Velázquez then putting on a layer of white glue or varnish to painted one of the most analysed portraits in the Montage screen print, Bash (1971), by Eduardo Paolozzi (1944-1977). protect it and strengthen the adhesive. world of art: The family of Philip IV, also known as Las Meninas. Find information on this artist and his most famous work.

COLLAGES IN ART

Richard Hamilton was a British artist and a pioneer in Pop art. He created paintings, sculptures, photographs, collages and installations.

In his collage Just what is it that makes today’s homes so different, so appealing? he used images from the media to reflect the impact of television on our lives.

Hannah Höch (1889-1978) This German Dadaist artist and photographer is considered a pioneer in her use of collages. She made photo collages in which she mocked the elitist bourgeois style. She was also a feminist activist who defended women’s rights and spoke out against the male chauvinistic society.

Elements of communication

Let’s reflect together

Laws of perception

The brain simplifies

The brain creates original images

Look for examples of camouflage

Meaning of images

b) Do I know the laws of the Gestalt Theory? c) Am I able to analyse what I see, such as the images that surround me? d) Do I recognise when images are not real, when they are illusions or tricks of perception? e)

Installation A type of contemporary art in which the artist uses the medium (walls, floor, lights, etc.) and other objects as a part of the composition.

Have I discovered how our visual memories are different?

g) Do I know how to differentiate between the different functions and the meaning of images?

Limbic system Part of the brain that regulates emotions and memory, as well as other functions.

Dadaism Artistic movement that began at the beginning of the 20th century that questioned the traditional aesthetic standards of the time and encouraged the liberation of fantasy.

Syntax The way in which elements of an image are organised and ordered through rules or techniques.

i )

Do I understand the differences between the representation and interpretation of images?

Urban art The type of art that uses the city as a support for its creations.

j )

Can I recognise manipulation in images?

h) Am I able to communicate with images?

k) Have I learned about new artists, styles or artistic movements?

Visual code The principles that give meaning to a visual message.

Visual cortex The part of the cerebral cortex (nerve tissue that covers the cerebral hemispheres) that processes visual stimuli.

We get to know artists who have helped to build our history, linked to the modern world.

f ) Do I recognise elements of visual communication?

Intervention Artistic action that modifies space.

Cubism Artistic movement that uses geometric shapes.

Favela In Brazil; a marginal neighbourhood of shanties in a city.

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a) Do I know the mechanism of visual perception and factors that condition it?

in their environment to avoid being seen or to trap their prey more easily. Just as in the game Where's Wally?, Chinese artist Liu Bolin (1973) camouflages himself in the city streets to criticise the lack of attention given to art. Look for other examples of camouflage.

i-Z

Avant-garde Artistic movements at the end of the 19th century and the beginning of the 20th century that experimented with new ways of expression.

them with your classmates. Then, evaluate your learning, on a scale of 1 to 5.

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2 Many creatures in nature are able to hide themselves

glossary A-H Aesthetic Related to beauty.

Just what is it that makes today’s homes so different, so appealing?

(1956), by Richard Hamilton and John McHale.

Beautiful young girlcan (1920),

by Hannah Höch.

You discuss 4 Answer the following questions.

Functions of images Our eyes deceive us

l )

Have I learned new techniques for artistic/ visual expression?

m) Does the photo collage I made on my folder represent me?

Ground Zero, by Chinese artist Liu Bolin, in New York.

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Focus on English

Skills are a reference in modern education, with which:

Do you think visual and audiovisual arts and English have anything in common? Discover how language and visual and audiovisual arts are linked so you can learn both.

•p roblematic situations that have to be resolved via a series of tasks are put forward.

• t hey are related to the Sustainable Development Goals (SDG).

Artistic workshop

DESIGNING TO SCALE

When we have an idea of creating or improving an object or product, we first make a drawing of it. This drawing is usually done on a scale that is different from reality, either reduced or enlarged. This makes it possible to see it more clearly, always respecting the measurements and proportions of the original idea.

ã 1.2 Look and see Although our visual system is almost perfect, it is not objective. It is influenced by our experiences and memories. We don't always see what is in front of us. Sometimes we see what we want to see or what we hope to find.

ã 1.3 Our eyes deceive us Bacteria seen through a microscope.

Solar system seen through a telescope.

Our perception is limited. Sometimes it deceives us by deforming reality and creating optical illusions.* Optical illusions consist of a visual conflict that leads us to perceive one reality in several ways, sometimes in ways that are logically unexplainable.

In the visual perception process, the brain transforms information captured by the eye into a recreation of external reality.

• Pencil and paper.

• Metric rulers to accurately draw the parts the right

highlight them.

Did you know that we all have an area of the eye through which we can't see? Our brains do not receive information from this part of the eye, but we “fill in” what is missing, and therefore, we are unaware of it.

Process

➜ First, do freehand sketches, in which the final

b) Describe the images around you.

What catches your attention?

What images do you have vivid memories of? c) Look at the pictures of the ultrasound and newborn. What are your first memories? Do you think that others see you as you really are?

We see and are seen. We are surrounded by images that we make and share. There are even images of us before we are born. Although each individual is unique, we share likenesses with others when we compare our skin colour, eye colour, etc. We have a face and a body that identify us, but we sometimes change them to look like others, or to be different.

What do you pay attention to?

2 Our eyes move to focus, sweep, follow and zoom,

3 Think of a route you usually take and describe it

similar to the way cameras do in films. In groups, make a video with these movements and observe the differences between them.

in detail. Then go on it and describe details that you had not recalled or which you had not paid attention to before. Make a small photo report and present it to the class.

Designing your own clothes can be fun. Begin with a T-shirt, pants, a scarf, or a handbag. You can even create your own brand and design an entire collection in your own style.

Draw ideas, try different colours and sizes. You can look for inspiration in an artist, an artistic style, a traditional culture, or a landscape. Do something surreal and fun, similar to Erwin Wurm’s style.

Make the design according to the miniature’s clothing size and accessories and even give the model a new hair style. Draw the design and measurements on a piece of paper. Leave flaps on the clothing so that once it is cut and folded, you will be able to attach it to the silhouette of the model.

Pattern making involves analysing the measurements of the human body and simplifying its shapes to obtain patterns or templates. The patterns, or templates, are placed on the fabric, drawn, and then cut out to obtain the pieces. Then, they are sewn, thereby creating the article, which will adapt to the body after it is cut and folded.

Make your patterns 2

Would you be willing to make patterns from your own body? You can do so by unstitching clothing items that you no longer use, drawing the pieces on another fabric and cutting them out.

Then, sew the new pieces. Try making something simple, such as a T-shirt.

Erwin Wurm (1954) Erwin Wurm is an Austrian sculptor who modifies everyday objects, such as clothing, furniture and cars, deforming them and making them uncomfortable. He shows us the importance of proportions.

Coco Chanel (1883-1971) Coco Chanel was a French designer who revolutionised fashion. She criticised the rigidity of the time and created her own style, which was elegant and consisted of straight lines, with simple and comfortable clothing. She began with a hat store. Nowadays her fashion and accessories company continues to be an international leader.

A model with different items for the beach.

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Trust in your skills and knowledge, develop creativity, adapt to changing situations and have a proactive and responsible attitude.

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PATTERN MAKING AND LEADING FASHION DESIGNERS

To make these models, light-weight materials are used which are easy to cut and join together, such as a mouldable paste, wood, cork, cardboard, thread, or wire.

Where are you looking?

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Enterprising culture

Left, freehand sketch. Right, drawing of template or pattern to scale.

Model building is the hobby of reproducing things on a miniature scale. A model is used to resemble something real, keeping the same proportions, yet with a smaller size. In the past, models were created as a necessary step for industrial production.

Optical illusion created by artist Julian Beever (1959).

Photograph of a newborn.

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MODEL BUILDING

Understand, think and apply…

Ultrasound images taken before birth.

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appearance can be less defined. make up the design. Including all of the details, exact measurements and accurate lines. Indicate the scale and the exact measurements the parts must have when they are cut or made in their actual size and with the final materials.

Custom clothing

To get an idea of how your clothes will turn out, you can use paper dolls. Choose a picture of yourself in which your entire body is shown, or of a person you would like to use as a model. Cut out the figure and glue it to a piece of cardboard to reinforce it.

You will obtain a mould that you can use to draw the silhouette as many times as you want. This way, although it is a miniature, you will have the proportions of the model.

➜ Then, separately draw the parts or templates that

1 a) Look at the pictures of the bacteria and solar system. What do you see? Describe what you see. Do you think you can see everything?

Is everything you see real?

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size.

• Coloured pencils to finish the designs and markers to

Blind spot

Illusion is synonymous of deception, misinterpreted perception or a false belief. Discuss this with your classmates and compare the word with other languages you know.

Understand, think and apply…

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Materials

Seeing is a complex process. We sometimes only see what we are familiar with, or what we want to see. For a stimulus to be perceived and stored in our memory, it must have a certain degree of intensity.

Our memories also depend on things that catch our attention or interest us. However, we perceive some things unconsciously.

Reflect and respond

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We have to learn to see: this includes learning how to pay attention, distinguish objects, and develop our perception.

Unit 4

Regardless of whether it is a bicycle, shoes or clothes, you can make the item in different sizes. In other words, you can adapt the design to different sizes, and even personalise it to the user’s size.

Let’s create

ã 1.1 From the eyes to the brain Visual perception is the impression we have of the outside world that we expereince through our eyes (one of our sense organs). Light enters through our pupils and hits the retina, where it's transformed into electric impulses. These impulses reach our brain's visual cortex via the optic nerve in about 33 milliseconds. Sometimes what we see creates a feeling which our limbic system converts to emotion.

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Unit 1

We are able to see both increadibly small and large objects. We have invented devices to see objects the human eye cannot perceive on its own; regardless of how near or how far they are, or whether they are outside or inside of something. We use our senses to interact with our environment, objects and people. We experience emotions, learn behaviours, etc. Being able to see enables us to learn about and understand what is around us.

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1 VISUAL PERCEPTION

• t hey are given context in real situations.

One Minute Sculptures Performance (2014), by Erwin Wurm.

anayaeducacion.es Go to the SDG resource 12.8.

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Academic and professional

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ICT

orientation

Evaluation

Linguistic Plan

Learn how to obtain information, select it and apply it; to plan, manage and work on projects; to collaborate online in an ethical and safe manner.

Evaluate your personal skills, discover and awaken your calling, train yourself to make decisions and learn to choose between different options.

Discover different strategies to analyse what you have learnt and how you learnt it; train yourself to take responsibility or overcome difficulties.

Use your communication skills in the different types of text that you will see.

Language is always present, communicate!

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The resource bank is LIKE THIS www.anayaeducacion.es A space with resources, techniques and activities, designed to strengthen your knowledge.

Access the resource bank by registering at anayaeducacion.es.

You just need to have an email, the code indicated on the first page of this book and the permission of a parent or a legal guardian.

More about the keys

Resources related to

THE KEYS of the project SDG

SDG Commitment, with microvideos that will help you know what are the targets for reaching the Sustainable Development Goals worked on in this project.

Linguistic Plan, with infographics that will give you models to work with the four linguistic skills, using different types of texts (descriptive, narrative, explanatory, etc.).

Developing thinking, where explanations are included on how to apply the different strategies for thinking proposed in the project.

Cooperative learning, which includes the description of the cooperative learning techniques proposed in the project.

Emotional education, with resources to support you with overcoming worries generated in different situations in your learning process (beginning of the school year, taking a test, etc.).

ICT, by using data sheets that will reinforce your healthy, correct and safe use of information and communication technologies.

Academic and professional orientation, with information on different professions linked to the subject content.

Evaluation, which includes resources for your portfolio, as well as rubrics and targets that will facilitate your self-evaluation.

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NOTEWORTHY

resources in the material Additional content Concept map Librarium Pelicuteca isual dictionary of V artistic terms Blank maps Language Bank

Resources classified

by unit

All the resources are classified so that you can easily locate the ones related with each section of your unit.

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course contents

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To scale 52

1 Size, scale and proportion: Size and dimensions, Proportion, equality and similarity, Thales’ Theorem, Scales and measurements, Grids for copying, scaling and deforming, Proportion and beauty.................................................... 54

2 In our size: Representation of the human figure, Canon of the human figure, Custom design, Anthropometry and ergonomics, Fashion design, Fashion revolutions.......................... 58

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A world full of images 8

1 Visual perception: From the eyes to the brain, Look and see, Our eyes deceive us, Gesalt theory of perception, The brain simplifies, The brain creates original images............................... 10

2 Visual Communication: Visual thinking and communication, Elements of visual communication, The meaning of images: visual memory and connotation, The functions of images................................................. 14 The Artistic Workshop................................................................ 18 Review............................................................................................ 20

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Visual Language 22

1 Basic components of images: Basic components, Drawing shapes, Textures, Representation and interpretation...................................................................... 24

2 Colour: A complex phenomenon: The mechanics of colour perception, From white to black, Let’s organise colours, Warm colours and cold colours, The dimensions of colour, Colour palette, Colour is made.................................... 28 The Artistic Workshop................................................................ 32 Review............................................................................................ 34

3

An organised world 36

1 Plane geometry: Technical drawing: a universal language, Straight and curved lines, Angles, Loci, Circumference, circle and arc, Polygons.................. 38

2 The symbolism of geometric shapes: Symbols, Star-shaped polygons, Links and tangents, Movement on a plane: translation, rotation, symmetry, Modules and networks.............................. 44 The Artistic Workshop................................................................ 48 Review............................................................................................ 50

The Artistic Workshop................................................................ 62 Review............................................................................................ 64

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Visual Arts 66

1 Geometric Bodies: Three-dimensionality, Materials and techniques for working with volume, Polyhedrons and other geometric bodies, Unfolding a three-dimensional object, Systems for representing objects............................... 68

2 Designing objects: From arts and crafts to industrial design, Sketches, Dimensioning, The evolution of consumer goods, The design process, Sustainable and eco-efficient designs, Modular design, Packaging.......................... 72 The Artistic Workshop................................................................ 76 Review............................................................................................ 78

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Capturing a moment 108

1 Photography: The techniques of photography, From the camera obscura to the mobile phone camera, Reality and creativity in photography, Controlling the image, Types of shots, Photographic editing and retouching....................... 110

2 Depth and perspective: Depth perception, Perspective, Perspective and depth tricks.............. 114 The Artistic Workshop ............................................................... 118 Review............................................................................................ 120

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Illustrating stories 122

1 Image and Narration: Elements of the visual narrative, Narrative strategies, Illustration, From cartoons to graphic novels, The elements of comics, Sequential images and motion............... 124

2 Audiovisual: Cinema, video and television, Audiovisual genres, Technical audiovisual resources, Special effects, Audiovisual montage and editing....................................................... 128

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Creating messages 80

1 Composing images: Framing, format and orientation, Organising the image, Visual weight and compositional balance, The rule of thirds, Compositional schemes............. 82

2 Graphic design and advertising: Advertising, Advertising language: metaphors, Graphic design, Corporate identity: trademark, logotype and slogan, Typography, Calligraphy, lettering and calligram.................................................... 86 The Artistic Workshop................................................................ 90 Review ........................................................................................... 92

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Space, light and volume 94

1 Perception and representation of space: Maps and geographic representation, The artistic genre of landscapes, Temporary spaces ............................................................ 96

2 Light reveals volume: Different lights, different expressions, Light and volume in art history, Types of shadows, Chiaroscuro........ 100 The Artistic Workshop................................................................ 104 Review............................................................................................ 106

The Artistic Workshop................................................................ 132 Review............................................................................................ 134

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visual language Reading and listening

Cai Guo-Qiang Cai Guo-Qiang is a Chinese artist that creates art using explosions and fireworks. He created the pyrotechnic performance The Ninth Wave, that you can see in the picture in 2016.

1 Match the words from the text to the definitions. pyrotechnic

firework

a) A small device containing powder that burns or explodes and produces bright coloured lights and loud noises. b) Connected with fireworks or a display of fireworks.

We can create images by imitating or recreating reality or from our imagination. In The Ninth Wave, Cai GuoQiang plays with an explosion of colours to evoke feelings and awaken the senses.

2 Where do you think Cai Guo-Qiang gets his ideas from?

Are you able to distinguish the elements such as lines, shapes and textures that his images are made of?

3 Describe the colours you see in the performance. How do you think he made these colours? Do you think the colours have a meaning?

Speaking

4

I watched a video of Cai Guo-Qiang in the Prado. It was called El espíritu de la pintura. In the video, he put lots of different coloured powders on different canvases. He lit them on fire and there was an explosion of red, yellow, blue and pink as well as other colours. The video made me feel inspired to learn more about pyrotechnics and watch more videos.

Find a video or picture of one of Cai Guo-Qiang’s performances. Describe the different colours that you can see and how they make you feel.

5 Cai Guo-Qiang works in different countries all over the world. Do you think his work is socially inclusive to all, including inmigrants?

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anayaeducacion.es Go to the SDG resource 10.3.

The Ninth Wave (Sanghai, 2014), pyrotechnic performance by Cai Guo-Qiang.

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1 BASIC COMPONENTS OF IMAGES

Sometimes a smile, look or gesture is enough to express our happiness or fears. The same is true for visual language; sometimes a simple stroke* or colour blot can show how we feel.

A blot, a line on paper, a brushstroke* footsteps in the sand, fingers in clay, a chisel on rock or wood... all of these actions leave a mark.

When these marks are organised, they can form shapes that can become images from the imagination or represent elements from reality, sometimes symbolically. Images are distinguished by their characteristics such as: shape, colour, texture and dimension.

The word stroke can mean to punch, clash or blow. It also means to caress.

Brushstroke in painting has the same meaning. Jackson Pollock strikes the canvas with his aggressive way of throwing the paint from a distance. The classical paintings in Europe since the Renaissance use the brush as a caress.

Random blots and shoe prints on the sand make up different shapes; one is real, while the other is imaginary.

We can share our dreams and desires through images. Art, invention and creativity, are often metaphorical, and contain metaphorical images.

Art helps us explain the unknown, and what lies in our subconscious.

Understand, think and apply…

Reflect and respond

1 a)

Are you able to express something with a simple gesture, or just by a stroke?

b) D escribe the style of images you like to create. Are they real or imaginary? c) A re we able to be aware of our subconscious and express it?

What are your dreams?

A frame from Peter Pan (1953), directed by Wilfred Jackson and Hamilton Luke.

Your signature is your mark

1

24

2

3

A signature is an image that accompanies us throughout our entire lives. Some are simple, geometric signatures, such as Alberto Durero’s signature (1), while others may be more expressive, like Picasso’s (2), or very elaborate like the ones used by certain graffiti artists (3). What does your signature look like? Does it represent you? Are you willing to create one to identify your artwork with your characteristic stroke and expression?

Unit 2

ã 1.1 Basic components ➜ A dot is the start of everything, a basic expression, the smallest graphic element (called a pixel in digital images). A dot can have smooth or irregular edges, and can be different sizes and shapes.

➜ A line is the path of a dot that moves, and represents its movement. A line can be open or closed, curved, straight, wavy, zigzag or combined.

Maximum expression in a single stroke John Ormsbee (1913-2005), an American landscape architect, thought that each stroke transmits emotions, feelings and a general mood. What do your strokes look like?

3

Understand, think and apply…

1

Transform a space using only dots

2

Imitate Yayoi Kusama (Japan, 1929). Use stickers with different colours, dots and different sizes to, transform a space or object into a wonderful piece of art.

Infinity room, created for the exhibition Infinite Obsession (2015), by Yayoi Kusama.

Create with lines

3 Freely scribble on a sheet of paper. Then, make some lines thicker

2

Examples of strokes and the feelings they represent: 1. Stability. 2. Dynamism. 3.

Expressiveness. (Taken and adapted from Mood Line, by Rikard Rodin).

Do you prefer straight or wavy lines? Wavy comes from wave, which means undulation. Other words with similar meanings are squiggly and wiggly: ‘A wiggly line’.

As a verb, to wave means to greet someone in the distance with your hand. Discuss with your classmates why greeting someone with your hand is similar to wave and wavy.

than others to create shapes. Decorate them with patterns, then colour them in and make up a story about them.

You can even cut them out to make them into three-dimensional sculptures, like the ones by Jean Dubuffet (France 1901-1985).

1

2

1. Picture of scribbles. 2. Defined shapes coloured in. 3. Jardin d'émail (1974), sculptures

by Jean Dubuffet.

3

25

1 BASIC COMPONENTS OF IMAGES

ã 1.2 Drawing shapes Shape refers to the outer appearance of things. Shapes can be organic or geometric, flat or volumetric.

Sometimes, artists draw lines to accentuate shapes (1); other artists define shapes using only colour (2), dots (3) or colour expanses (4), without using contour lines.

When drawing shapes, contour is the line that defines the outer part and contained space is the interior of the shape. When the contained space is filled in with one plain colour, we call it a silhouette.

The use of sfumato makes shapes blurred

1

3

Sfumato is a technique invented

by Leonardo da Vinci (Italy, 14521519) through which the contours of figures are smoothed out by using soft tones and playing with shadows. He used it in La Gioconda (1503), also known as The Mona Lisa.

4

2

1. Woman, Bird and Star (1970), by Joan Miró.

2. O n White II (1923), by Wassily Kandinsky.

3. G irl Running on a Balcony (1912),

by Giacomo Balla.

4. Red Haired Girl Sitting on a Veranda (1884), by Berthe Morisot.

Understand, think and apply…

Discover hidden shapes

4 Find figures of objects, animals and people. On a piece of paper, A woman’s silhouette in Blue Nude (1907), by French painter Henri Matisse.

26

draw or trace the contour lines and mix them up so that they are less recognisable. Then, have a classmate try to guess what each silhouette represents.

Unit 2

ã 1.3 Textures Texture is a surface characteristic that we perceive using sight and touch. Art imitates and recreates textures. Texture and colour reinforce emotions and help us distinguish materials and objects.

1

1. Visual textures: Compliance (1905-1909),

by Gustav Klimt.

2. Textures obtained through frottage: Documenta (1959), by Max Ernst.

3. Natural textures: Bird 2 (2014), by Javier Lorenzo.

2

3

ã 1.4 Representation and interpretation There are different ways to express what we see. We can represent reality in a more or less objective way, using techniques that depict an object naturally.

When we reproduce elements in an image realistically, it is called a figurative image. When elements from reality are not reproduced realistically, it is called an abstract image.

We can represent reality by creating images that are different from the ones that we see. When we express feelings, emotions, dreams or ideas, we can be carried away by fantasy and imagination. The images can be figurative, but not logical. Images may not even have anything to do with reality, which is what we call surrealism.

Tiforal (1947), surrealist painting by Remedios Varo.

Understand, think and apply…

Imitate reality

1

5 In order to draw something realistically, the first and most important thing to do is to observe, then sketch the image on the paper or medium you will draw on. (1), Draw the basic lines (2) and Draw the contour of the shapes (3). Choose an object that you are interested in and reproduce it following these steps.

Sketch.

2 Basic lines.

Imagine and draw

6 Close your eyes and think of images. They do not have to be real.

Focus on the shapes, lines and textures. Draw what you have imagined.

3 Contour of the shapes.

27

2 COLOUR: A COMPLEX PHENOMENON

We see everything thanks to light and colour differences. Defining a colour is not easy. When naming colours we use adjectives and refer to objects that we know: pale yellow, tan, vanilla, dark olive green, fire truck red, there are many possibilities.

The sun gives the late evening an orangish, pinkish colour; the cold seems to make everything blue. A leaf is not the same in autumn as it is in spring. The lighting, weather, or material a colour is made of affects its appearance.

The greens and blues in the ocean can be very similar.

Different blues in a northern landscape.

Colour has a strong influence on our emotions and it can awaken feelings in us that affect all of our senses, given that we relate colours to experiences. Therefore, colour is subjective and symbolic; it varies from person to person and from culture to culture.

Understand, think and apply…

Reflect and respond

1 a) Are you always able to distinguish blue from green? Do you know how many colours there are?

What colours can you see in the dark? Can you imagine a world without colour? b) W hat colours do you like?

What colour is your room? Your rucksack? What colours do you like to dress in? Why?

28

Football fans wearing their team's colours.

At a Chinese wedding, the bride and groom dress in red.

Colour, symbolism and emotion In art, design and marketing, the power of colour is taken into consideration. In general, warm colours (reds and yellows) are energetic, and cold colours (blues) are relaxing and give a sensation of freshness.

Find images in which one specific colour is dominant and compare them: next to them, describe experiences you have had that are associated with that colour, including emotions you associate with it.

Unit 2

ã 2.1 The mechanics of colour perception Colour* is a sensation our brain perceives. The surface of an object reflects some colours and absorbs all others. The colour we see is the one being reflected off the object in the form of electromagnetic waves that are transformed into what we call colours. White light contains all colours.

Each colour has a wavelength. The human eye is only able to see waves that oscillate between about 380 and 780 nanometres; this is called the visible spectrum.

Long wavelengths

Red

Orange

Yellow

Yellow-green

Green

Blue-green

Blue

Violet

Short wavelengths

SUN

UV

Wavelength 1 in nm

IR 400

10

The black ink cartridge is not necessary. In fact, the first home printers didn't use one; it was added later since it was the most commonly used colour, and it was economically viable to have it already prepared.

The entire visible spectrum (400-750 nm)

WHITE LIGHT

300

Black ink in the printer

500 102

600 103

700 104

800 105

106

Different colours have different meanings which may be the same or different in different cultures.

For example, green is often used to paint the walls of hospitals. Why do you think this is? Look on the Internet for the meaning of colours in different cultures and discuss with your classmate.

Visible light UV (Ultraviolet)

X-rays

IR (Infrared)

Light spectrum through Newton's prism and wavelength measurements of the colours.

ã 2.2 From white to black If we mix colours of light, the original colour gets lighter and lighter until we get white. We call the mixture of colours of light additive synthesis.

If we mix pigments (which absorb light), we obtain darker colours until we get black. We call the mixture of pigments subtractive synthesis.

Red

Yellow

Magenta

Magenta

Red Black

White

Green

Cyan

Violet

Blue violet

Primary colours of light (red, green and blue violet) and their additive mixture.

Yellow

Green

Cyan

Primary colours of pigment (magenta, yellow and cyan) and their subtractive mixture.

Understand, think and apply…

Colour a spinning top

2

Take a piece of cardboard and cut out a circle 10 cm in diameter.

Make a small cross in the centre for a pencil, which will be used as an axle to make a spinning top. Cut out several of the same size circles using a separate sheet of paper.

Divide and colour them using different colour combinations. One should contain the three primary colours (cyan, magenta and yellow.) Now, see what happens when you spin the top. Do the colours mix in the same way as when we mix paint? Explain why.

29

2 COLOUR: A COMPLEX

ã 2.3 Let’s organise colours

PHENOMENON

With the pigments cyan, magenta and yellow you can make all other colours. That is why they are called basic or primary colours.

A rainbow is caused by the refraction and dispersion of sunlight by rain or other water. A colour wheel reminds us of the rainbow. Compare the two of them.

Secondary colours are made from mixing basic colours: cyan and magenta make violet; magenta and yellow make red; yellow and cyan make green.

Complementary colours are opposites; they contrast the most with each other on the colour wheel (such as magenta and green).

Harmonious or analogous colours are the colours that are closest to each other (such as red, carmine, magenta and purple).

ow Yell Gr e

Gr e

Red C

Cyan bl

ine arm

Red

en

en

a nt M ag e

let Vio

Complementary colours.

Purp le

a nt

ue

M ag e

Colour wheel* with primary and secondary colours.

Harmonious or analogous colours.

ã 2.4 Warm colours and cold colours We often associate red and yellow with warmth, and blue with cold.

When comparig colours vermilion red isn't the same as carmine; and blue isn't the same as ultramarine.

Colour (chroma), saturation (purity) and brightness affect how we perceive colour.

ã 2.5 The dimensions of colour We can define a colour based on three dimensions:

➜ Shade, tone or chroma: depending on the wavelength. ➜ Brightness: depending on brightness, a colour is lighter or darker. ➜ Saturation: depending on purity, a colour is more intense or subdued.

We can distinguish up to 150 different shades. By varying the brightness and saturation of colours, it is possible to have up to 7 000 000 different colours.

Colour shades are shown in different colour systems, such as the Hickethier cube (above) and the Munsell tree (below).

30

There are international systems and guides that organise and number colours such as the PANTONE® guide. The easiest is the colour wheel, which only takes shade or tone into account.

Unit 2

ã 2.6 Colour palette A colour palette is a group of colours that go well together for a specific reason, such as they are complementary, they share a base, and they form part of the same colour gamut.

ã 2.7 Colour is made The colour we perceive depends on:

Colour contrast Swiss painter Johannes Itten (18881967) established seven types of colour contrast. Here are a few examples: Contrast of pure colours

➜ Distance (blue, when father away; red, when closer). ➜ The strength of the sunlight and how we adapt to light or darkness.

At midday colours are paler; that’s why photographs have truer colour if we avoid the midday hours when the sun is stronger.

➜ What surrounds colour. The Retinex theory shows that colour is made by comparing the reflectance off contiguous surfaces and the assimilation or contrast of adjacent colours. That's why surgeons wear green coats, so if they get stained with blood, the red colour will not contrast as much.

Understand, think and apply…

Make compositions by organising colours

Warm-cold contrast

Contrast of complementary colours

(Taken and adapted from: The seven types of colour contrast, by Johannes Itten)

Distance and colour

palette? Look at the example, choose a picture and make a palette with harmonious colours.

Did you know that Mark Rothko (1903-1970) preferred his large paintings to be looked at up closely?

It is difficult to appreciate a painting this way, but the energy of the colour is mesmerising to the viewer.

Can you imagine a room painted black? What would you feel? Would you feel the same if it were painted in a strong red or celestial blue?

Palette of 17 colours, Svalbard, Arctic (2015), by Francesca Piñol.

No. 1 (1957), by Mark Rothko.

3 Organise objects or images by their colour and create different compositions with them. If you choose images, you can cut out small squares and use them in your composition. If you choose objects, take pictures of them.

Make a colour palette

4 Have you ever considered that every place has its own colour

31

Artistic workshop

Action or gestural painting

Action painting or gestural painting is a form of action art, a technique that emphasises expressiveness and spontaneity. It consists of gestures and moving the entire body, without the need for traditional tools such as a paintbrush or spatula. Large formats are used, in which shapes, textures and colours symbolise emotions and feelings.

Materials

• Paint that can be diluted so that it drips easily, ink, or even watercolour.

• A large piece of paper or cardboard, fabric or canvas.

Process

➜ With the material of your choice on the ground, different techniques can be used: letting paint drip, swiping it, pouring water on it so that the paint runs, lifting the paper vertically and letting the paint slide down, etc. Paint can also be shot by a paint spray gun, thrown directly from the can or in balloons that explode against the material of your choice.

➜ We can also try other techniques, such as hitting the paintbrush, moving around freely guided by rhythm or emotion; walking on the paint or dragging our feet over it; covering our hands and fingers in paint and spreading them over the paper, etc. We can use paintbrushes, gloves or socks that we no longer use, a piece of cloth, a sponge, etc.

JACKSON POLLOCK and action painting In the 20th century in the United States, Jackson Pollock (1912-1956), who was influenced by German expressionism, distanced himself from figurative art and created a new painting style known as abstract expressionism. Jackson Pollock developed the technique known as action painting, which consists of throwing paint or letting it drip on canvas, and doing so without using drawings or sketches, but by merely letting himself go.

Jackson Pollock working in his studio in 1950.

32

Number 3 Tiger (1949), by Jackson Pollock.

Let’s create

Unit 2

When you have finished, cut the paper into sections so each person has a part of the painting.

Express your emotions with spontaneous gestures 1

Pooling ideas Plan a large mural or gestural painting that expresses a value, feeling or mood (love, understanding, generosity). Given that it is a work of action art, the process is an important part. So, get organised and start by taking pictures, recording videos and even audios.

Experiment with different paint effects and share your experiences with the subject you represent.

Then, do some sketches of possible ideas.

Place a large piece of paper on the ground. Choose some music that goes along with the subject, and let the music guide you while you allow the paint to drip. You can each work on one part of the paper until you meet in the middle, or follow an outline that you’ve established.

Dream, create and share 2

Complete your section of the mural so that it tells a personal story; it might not make sense, or it could even be surreal. Do this by making drawings with stories that also form part of the composition.

Use one or two colours, varying the tone according to the emotions you are expressing.

Include textures, which you can imitate or make up, and hide a QR code in them, which when scanned, will take the viewer to a video or a website with information on the type of action painting you did.

Go over your drawing with ink or with a ballpoint pen.

Compare your project to those of your classmates.

SPONTANEITY AND EXPRESSIVENESS IN FIGURATIVE ART At the end of the 19th century, figurative artistic styles appeared that were characterised by the use of spontaneous and expressive techniques, such as impressionism and expressionism.

Impressionism Impressionism was developed in France as a reaction to academic art. Impressionist artists wanted to achieve a direct and spontaneous representation of the world.

They observed the effects of light and how contours were blurred. They applied dabs of colour directly on the canvas to achieve “optical colour mixing”, a technique on which pointillism is also based.

Starry Night (1889), impressionist painting by Vincent van Gogh (1853-1890).

Expressionism Expressionism originated from Germany. This artistic style is characterised by deforming reality to give priority to the expression of feelings over objective depiction. It emphasises the strength of the stroke and colour. In this sense it is similar to fauvism.

The Large Blue Horses (1911), expressionist painting

by Franz Marc (1880-1916).

33

review

Unit outline VISUAL LANGUAGE components

Colours Basic components

Shapes Geometric and organic

Dot and line

Textures

Natural or created

Mechanics Perception

Types

Dimension

Their synthesis

Primary and secondary

Shade or tone

Complementary and harmonious

Saturation

Warm and cold

Brightness

Open and closed Contour Contained space Silhouette

Figurative and abstract

Visual or tactile

Real or imaginary

Colours of light

Pigment

glossary A-N

O-Z

Electromagnetic wave Wave produced by electrical charges in motion. A wave is the propagation of energy through space.

Organic shape Shape characterised by an irregular or asymmetrical form.

Fauvism Artistic movement which began at the beginning of the 20th century, characterised by the use of vivid colours and thick brush strokes.

Iconicity Relationship or degree of similarity between an image and what it represents.

Metaphorical image Image that expresses a reality or concept different from what is shown, but which maintains a degree of similarity.

Nanometre One billionth of a metre (0.000 000 001 m) or one millionth of a millimetre (0.000 001 mm).

34

Performance Artistic action that involves the viewer by combining elements of different artistic fields, such as music, drama and plastic arts.

Pointillism Impressionist artistic movement developed at the end of the 19th century, in which artists experimented with painting by using small dots.

Pyrotechnic Relating to the field of pyrotechnics.

Pyrotechnics Material for fireworks.

QR code Matrix of dots which, just like a bar code, can store information.

Reflectance Property of a body that reflects light.

ial work mater r to choose be . em lio fo em R port it for your from this un

Unit 2

gress o r p r u o y k c e ch Change the degree of iconicity

Investigate the colour of your skin

1 Look at how changing the shapes of an image, it

3

goes from figurative to abstract. Choose another animal and try it yourself.

1

2

3

4

Imitate colours of light with pigments 2 It is possible to give colour to a painting after it has been painted by using fine layers of very diluted paint that remain transparent. This technique is called glazing. It was used often in the Renaissance.

It was later used by Dutch painter Rembrandt (16061669) to imitate colours of light in a natural way that is difficult to do with colours of pigment. Try it.

Brazilian artist Angelica Dass (1979) invites us to participate in her “Humanae” project, a chromatic inventory of human skin. It makes us reflect on the imprecise boundaries between races, social classes, religions, nationalities, genders and age. Search for information on her project.

Let's reflect together 4 Answer the questions. You can also discuss them with your classmates. Then, evaluate your learning and give yourself a score from 1 to 5. a) Do I know the basic elements of visual language? b) Have I developed my imagination, which is necessary for creation? c) Am I able to draw by copying reality? d) Am I able to express my imagination through images? e) Do I know how to distinguish and use different textures? f) Do I know how to distinguish and use different shapes? g) Do I recognise when images are figurative or abstract? h) Do I understand the differences between the representation and interpretation of images? i) Do I know how to distinguish and use different colours? j) Have I learned about new artists, styles and artistic movements? k) Have I learned new techniques for plastic and visual expression?

Fragment of a self-portrait of Rembrandt.

anayaeducacion.es Go to the SDG resource 16.3.

l) A m I able to show feelings and experiment when creating?

35

Building Blocks is an educational project by Anaya Educación for Secondary Education with the participation of: J. A. A. Castrillón, N. Blanco C. Broadbridge, M. Burgos, K. Chambers, M. Folgueral, Begoña Fuente Larrazabal, Sara Gascón Martín, Danny Latimer, M. C. MuñozDelgado, R. Oakes, J. Roe, C. Ordóñez, Hannah Peat, Karen Piper, Emma San José, Deborah Spencer, Denise Suárez.

The following people have also contributed to this book:

Editorial team: Danny Latimer and María Ángeles Andrés.

INCLUSION AND NON-DISCRIMINATION ADVISOR: Víctor Ángel Díez Mazo (Coordinator) and Manuel López Callejo.

Design, technical drawings and maps: Patricia G. Serrano, Juan Carlos Quignon and Miguel Á. Castillejos.

Illustrations: Inés Burgos and Alberto Díaz.

Layout: Juan Pablo Mora García Corrections: Miguel Ángel Alonso and Sergio Borbolla.

Graphic edition: Elena Achón.

Translation: Montero Language Services.

Photographs: Agencia EFE, Alamy / Cordon Press, Age Fotostock,

Album, AP Images / Gtres, Aurimages, Anaya Archive (Alcón, A.; Santos, V. E.; Candel, C.; Cosano, P.; García Pelayo, Á.; Hernández Moya, B.; Leiva, Á.; Lezama, D.; Martin, J.; Martín, J. A.; Ortiz, J.; Osuna, J.; Padura, S.; Ruiz, J. B.; Steel, M.; Sánchez, J.; Vázquez, A., Candel, C., Sánchez, J.), Boa Mistura, Begoña Lumbreras, Carlos de Gredos, Cordon Press, Dreanstime, Europa Press / Agencia Contacto, Francesca Piñol, Getty images, Isidro Ferrer, Istock / Getty images, Javier Lorenzo, Scala, SIPA / Cordon Press; 123 RF and colaborators.

Origins of the works of art: Banco de España-Colección Arte; Biblioteca de Turín (Italia); Centro Georges Pompidou (París); Colección David Hockney; Colecciones privadas; Galería de Arte Moderno (Milán, Italia); Galleria Doria Pamphili (Roma); Galería Trama (Barcelona); Galería Nacional de Londres (Inglaterra); Haags Gemeentemuseum (La Haya, Holanda); Henry Matisse Museum of Art (Baltimore, USA); Metropolitan Museum of Art (Nueva York, USA); Musee des Arts Decoratifs (París); Musee National d’Art Moderne. Centre Pompidou (París); Museo Arqueológico de Cataluña (Barcelona); Museo de Arte de Cleveland (USA); Museo de Arte Moderno (Estocolmo, Suecia); Museo de Arte Moderno MoMa (Nueva York, USA); Museo de Arte Moderno de Lusiana (USA); Museo de Arte Moderno de Fort Worth (Texas, USA); Museo de Artes Aplicadas (Viena, Austria); Museo de Bellas Artes (Budapest, Hungría); Museo de Bellas Artes de San Francisco (USA); Museo de la Real Academia de Bellas Artes de San Fernando (Madrid); Museo del Prado (Madrid); Museo d’Orsay (París, Francia); Museo Hirshhorm y Jardín de Esculturas (Washington, USA); Museo Kroller-Muller (Holanda); Museo Nacional Centro de Arte Reina Sofía (Madrid); Museo Nacional Ruso de San Petersburgo (Rusia); Museo Staedel (Frankfurt, Alemania); Museo Sorolla (Madrid); National Gallery (Londres); National Gallery Singapur; National Gallery of Art (Washington, USA); Sprengel Museum (Hannover, Holanda); Steve Martin Collection; Walker Art Center (Minneapolis, USA).

Academic and Professional Orientation:

created in conjunction with Fundación Bertelsmann. Coordinator: Juan José Juárez Calvo. Expert collaborators: Sara Lozano Santiago, Belén Pérez Castro and Pilar Vázquez Hernández.

Commitment to Sustainable Development Goals Our publications contain carefully selected content, illustrations and language to comply with non-discrimination on the grounds of gender, culture or opinion.

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These commitments, among others, mean that 100% of the paper used in our books has the PEFC label.

Important information: The activities proposed in this book should be completed in a separate notebook or on sheets of paper, not in the book itself.

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