Andy Warhol Colour & Shape Andy Warhol (American, 1928-1987) Camouflage,

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1. Andy Warhol Colour & Shape Andy Warhol (American, 1928-1987) Camouflage,
2. Shapes are enclosed objects and can be
3. Shape is considered to be a two-dimensional
4. Why is it important to consider both
5. Identify and describe the shapes.Are they organic
6. Andy Warhol’s Printing Process:Warhol would print the
7. Andy Warhol (American, 1928-1987) Grapes, 1979screen print
8. Andy Warhol (American, 1928-1987)Skulls, 1979 Screen print
9. Color TheoryWhy is colour theory important?
10. MonochromaticUses shades or tints from the same
11. Neutral ColoursNeutral colours or earth tones are
12. AnalogousAny three colours which are side by
13. ComplementaryTwo colours that are the direct opposite
14. Analogous with Complementary emphasisAndy Warhol (American, 1928-1987)
15. ValueAndy Warhol (American, 1928-1987) Camouflage, 1986 acrylic
16. Tint and ShadeAndy Warhol (American, 1928-1987) Flowers,
17. TemperatureColour temperate can help enhance the mood
18. Colour VariationsAndy Warhol (American, 1928-1987) Camouflage, 1986acrylic
19. Test your knowledgeAndy Warhol (American, 1928-1987) Space
20. Скачать презентанцию

Shapes are enclosed objects and can be created by line, colour and value changes that define their edges.Shapes can be: organic (irregular shapes found in nature) also called “natural” geometric (shapes

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Andy Warhol Colour & Shape Andy Warhol (American, 1928-1987) Camouflage,

Слайды и текст этой презентации

Слайд 1Andy Warhol Colour & Shape
Andy Warhol (American, 1928-1987)
Camouflage, 1987
screen prints

on Lenox Museum Board, 38 x 38 in.
The Andy

Warhol Museum, Pittsburgh Founding Collection,
Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

By Valentine Silenok (after Andy Warhol Museum publ.) valentine.silenok.msu@gmail.ru EFL lecturer MSU Faculty of Fine Arts

Andy Warhol Colour & ShapeAndy Warhol (American, 1928-1987) Camouflage, 1987screen prints on Lenox Museum Board,

Слайд 2Shapes are enclosed objects and can be created by line,

colour and value changes that define their edges.

Shapes can be:

organic (irregular shapes found in nature) also called “natural”

geometric (shapes with strong lines and angles such as circles, triangles, and squares).

Shapes are enclosed objects and can be created by line, colour and value changes that define their

Слайд 3Shape is considered to be a two-dimensional element, while three-dimensional

elements have volume or mass.

Shape
Andy Warhol (American, 1928-1987)
Skulls, 1979

Screen print on Lenox Museum Board 30 x 40 in.
The Andy Warhol Museum, Pittsburgh
Founding Collection, Contribution Dia Center for the Arts. © AWF

Shape is considered to be a two-dimensional element, while three-dimensional elements have volume or mass. ShapeAndy Warhol

Слайд 4Why is it important to consider both positive and negative

space when creating your composition?
Andy Warhol (American, 1928-1987)
Space Fruit:

Still Lifes (Cantaloupes I), 1979
screen print on Lenox Museum Board
30 x 40 in.
The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution Dia Center for the Arts © AWF

What is positive and negative space?

Why is it important to consider both positive and negative space when creating your composition?Andy Warhol (American,

Слайд 5Identify and describe the shapes.

Are they organic or geometric?

How are

the shapes’ edges defined?

Identify the dominant shapes in each composition.
Andy

Warhol (American, 1928-1987)
Space Fruit: Still Lifes, 1979
screen print on Lenox Museum Board, 30 x 40 in. each
The Andy Warhol Museum, Pittsburgh Founding Collection
Contribution Dia Center for the Arts © AWF

Identify and describe the shapes.Are they organic or geometric?How are the shapes’ edges defined?Identify the dominant shapes

Слайд 6Andy Warhol’s Printing Process:
Warhol would print the background color and

the shapes first, then the photographic image of fruit, finishing

with hand drawn layer.

Andy Warhol (American, 1928-1987)
Space Fruit: Still Lifes (Pears), 1979
screen print on Lenox Museum Board
30 x 40 in.
The Andy Warhol Museum, Pittsburgh Founding Collection
Contribution Dia Center for the Arts © AWF

Andy Warhol’s Printing Process:Warhol would print the background color and the shapes first, then the photographic image

Слайд 7Andy Warhol (American, 1928-1987)
Grapes, 1979
screen print on Strathmore Bristol

Series 500 paper
40 x 30 in.
The Andy Warhol

Museum, Pittsburgh, Founding Collection
Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

Andy Warhol (American, 1928-1987) Grapes, 1979screen print on Strathmore Bristol Series 500 paper 40 x 30 in.

Слайд 8Andy Warhol (American, 1928-1987)
Skulls, 1979
Screen print on Lenox Museum

Board 30 x 40 in.
The Andy Warhol Museum, Pittsburgh,

Founding Collection
Contribution Dia Center for the Arts. © AWF

Andy Warhol (American, 1928-1987)Skulls, 1979 Screen print on Lenox Museum Board 30 x 40 in. The Andy

Слайд 9Color Theory

Why is colour theory important?

Слайд 10Monochromatic
Uses shades or tints from the same hue

Andy Warhol (American,

1928-1987)
Sunset, 1972
Screen print on Paper
34 x 34 in.
The

Andy Warhol Museum, Pittsburgh, Founding Collection Contribution Dia Center for the Arts © AWF

MonochromaticUses shades or tints from the same hueAndy Warhol (American, 1928-1987) Sunset, 1972 Screen print on Paper34

Слайд 11Neutral Colours
Neutral colours or earth tones are not seen on

most color wheels. Black, gray, whites are neutral. Browns, beiges

and tans are sometimes neutral too. Neutral colours can be made by mixing:
Black and white
Complementary colours
All three primaries together (plus some black or white)

Neutral ColoursNeutral colours or earth tones are not seen on most color wheels. Black, gray, whites are

Слайд 12Analogous
Any three colours which are side by side on a

12 part colour wheel, such as yellow-green, yellow, and yellow-orange.

Usually one of the three colours predominates.

Andy Warhol
(American, 1928-1987)
Camouflage, 1987
Screen prints on Lenox Museum Board
38 x 38 in.
The Andy Warhol Museum
Pittsburgh Founding Collection
Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

Andy Warhol
(American, 1928-1987)
Cologne Cathedral, 1985
Screen prints with diamond dust on Lenox Museum Board
39 3/8 x 31 1/2 in.
The Andy Warhol Museum
Pittsburgh Founding Collection
Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

AnalogousAny three colours which are side by side on a 12 part colour wheel, such as yellow-green,

Слайд 13Complementary
Two colours that are the direct opposite of each other,

such as red and green and blue-purple and yellow-orange. Complementary

colours create the most contrast and balance in design.

Andy Warhol (American, 1928-1987) Flowers, 1970, screen print on paper, 36 x 36 in. The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF
Space Fruit: Still Lifes (Pears), 1979 screen print on Lenox Museum Board 30 x 40 in. The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution Dia Center for the Arts © AWF

ComplementaryTwo colours that are the direct opposite of each other, such as red and green and blue-purple

Слайд 14Analogous with Complementary emphasis
Andy Warhol
(American, 1928-1987)
Flowers, 1970
Screen

print on paper
36 x 36 in.
The Andy Warhol

Andy Warhol
(American, 1928-1987)
Sunset, 1972
Screen print on Paper
34” x 34”
The Andy Warhol Museum, Pittsburgh,
Founding Collection Contribution Dia Center for the Arts © AWF

Analogous with Complementary emphasisAndy Warhol (American, 1928-1987) Flowers, 1970 Screen print on paper 36 x 36 in.

Слайд 15Value
Andy Warhol
(American, 1928-1987)
Camouflage, 1986 acrylic and silkscreen
ink

on linen
40 x 40 in.
The Andy Warhol Museum,

Pittsburgh, Founding Collection,
Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© AWF

Andy Warhol
(American, 1928-1987)
Camouflage, 1986 acrylic and silkscreen
ink on linen
40 x 40 in.
The Andy Warhol Museum, Pittsburgh, Founding Collection,
Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
© AWF

ValueAndy Warhol (American, 1928-1987) Camouflage, 1986 acrylic and silkscreen ink on linen 40 x 40 in. The

Слайд 16Tint and Shade
Andy Warhol (American, 1928-1987)
Flowers, 1970
Screen print

on paper
36 x 36 in.
The Andy Warhol Museum,

Pittsburgh Founding Collection,
Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

Andy Warhol (American, 1928-1987)
Camouflage, 1987
Screen prints on Lenox Museum Board
38 x 38 in.
The Andy Warhol Museum, Pittsburgh, Founding Collection
Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

Tint and ShadeAndy Warhol (American, 1928-1987) Flowers, 1970 Screen print on paper 36 x 36 in. The

Слайд 17Temperature
Colour temperate can help enhance the mood of an image.

Andy

Warhol (American, 1928-1987) Vesuvius, 1985 screen print on Arches 88

paper, 31 7/16 x 39 1/4 in. The Andy Warhol Museum, Pittsburgh Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

TemperatureColour temperate can help enhance the mood of an image.Andy Warhol (American, 1928-1987) Vesuvius, 1985 screen print

Слайд 18Colour Variations
Andy Warhol (American, 1928-1987)
Camouflage, 1986
acrylic and silkscreen ink

on linen
40 x 40 in. each
The Andy Warhol Museum,

Colour VariationsAndy Warhol (American, 1928-1987) Camouflage, 1986acrylic and silkscreen ink on linen40 x 40 in. each The

Слайд 19Test your knowledge
Andy Warhol (American, 1928-1987)
Space Fruit: Still Lifes,

1979,
screen print on Lenox Museum Board
30 x 40 in.

Test your knowledgeAndy Warhol (American, 1928-1987) Space Fruit: Still Lifes, 1979, screen print on Lenox Museum Board30

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Andy Warhol Colour & Shape Andy Warhol (American, 1928-1987) Camouflage,

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Слайды и текст этой презентации

Слайд 1Andy Warhol Colour & ShapeAndy Warhol (American, 1928-1987) Camouflage, 1987screen prints

on Lenox Museum Board, 38 x 38 in. The Andy

Слайд 2Shapes are enclosed objects and can be created by line,

colour and value changes that define their edges.Shapes can be:

Слайд 3Shape is considered to be a two-dimensional element, while three-dimensional

elements have volume or mass. ShapeAndy Warhol (American, 1928-1987)Skulls, 1979

Слайд 4Why is it important to consider both positive and negative

space when creating your composition?Andy Warhol (American, 1928-1987) Space Fruit:

Слайд 5Identify and describe the shapes.Are they organic or geometric?How are

the shapes’ edges defined?Identify the dominant shapes in each composition.Andy

Слайд 6Andy Warhol’s Printing Process:Warhol would print the background color and

the shapes first, then the photographic image of fruit, finishing

Слайд 7Andy Warhol (American, 1928-1987) Grapes, 1979screen print on Strathmore Bristol

Series 500 paper 40 x 30 in. The Andy Warhol

Слайд 8Andy Warhol (American, 1928-1987)Skulls, 1979 Screen print on Lenox Museum

Board 30 x 40 in. The Andy Warhol Museum, Pittsburgh,

Слайд 9Color TheoryWhy is colour theory important?

Слайд 10MonochromaticUses shades or tints from the same hueAndy Warhol (American,

1928-1987) Sunset, 1972 Screen print on Paper34 x 34 in.The

Слайд 11Neutral ColoursNeutral colours or earth tones are not seen on

most color wheels. Black, gray, whites are neutral. Browns, beiges

Слайд 12AnalogousAny three colours which are side by side on a

12 part colour wheel, such as yellow-green, yellow, and yellow-orange.

Слайд 13ComplementaryTwo colours that are the direct opposite of each other,

such as red and green and blue-purple and yellow-orange. Complementary

Слайд 14Analogous with Complementary emphasisAndy Warhol (American, 1928-1987) Flowers, 1970 Screen

print on paper 36 x 36 in. The Andy Warhol

Слайд 15ValueAndy Warhol (American, 1928-1987) Camouflage, 1986 acrylic and silkscreen ink

on linen 40 x 40 in. The Andy Warhol Museum,

Слайд 16Tint and ShadeAndy Warhol (American, 1928-1987) Flowers, 1970 Screen print

on paper 36 x 36 in. The Andy Warhol Museum,

Слайд 17TemperatureColour temperate can help enhance the mood of an image.Andy