Art&lots of dots

Art&lots

of dots

Basic concepts of art

Illustrations Yonel Hernández

ated e r c e r s a t y e Dovital element in art. Thha surface

t wit Are a c a t ntbrush n i a o p c a e l, i k c a s pen represent l) u s i n g a y a ll when we m t a e u m s r u o t od ot, i raw a d nvas, wo d a e c , r w e n p e a h (p rument. W t s n i e square r b e h o t ls a n a or ano tc d , but i n u o r . , ll a a sm t a mark s ju r o , r triangula

ular , rectang

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s. e i ar e up v o mad em. s l e a en is ee th z i s re s

ir n sc on’t e Th evisio yes d

e tel our e th but n o s ge dot a im ular e Th ang ct e r of

We can make shapes by cr groups of do eating ts without dr For example awing lines. , pointillism is a paintin g tec cre It uses diffe

hnique tha ated in Fran t was ce at the en d of the 19th rent colore century. d dots that produce a c lear image when we lo ok at them from a dista nce.

,

) lique . b s o t , l f do al, vertica o n o i ess (horizont c c u s ual aight lines n i t n tr co cu Are a ings we use s rv

s e n Li w

es, whose d lin ot ed

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nge

direc t ion,

In dra

d ixe or m

li

ne s, w

hic

h are

made when we mix straight and curved lines.

es. n i l g n i s ace p u s t , s s e y ju b shap , t r a k of r figurative r o w e a etric o k a m n a ent om c e m g e e e v W fin e can d d mo s e n i L an e m u vol

,

Line s can

also trigger e mo ns. tio

Texture Is wha

t the surface of obje cts is like.

Or, in other words, it is their external a If we compare dif ppearance. feren

t materials (stone , fabric, marble, m glass or paper), w etal, e will find that so me are rough and others are sm ooth , they have differe nt textures.

Texture can be d istinguished through touch or sight.

If we touch an o bject, we will fe el its texture an if we see a pho d to of it, we can imagine what it ’s like.

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va lu es

Gr ess max ey of im In s a a c um b a e da t r ol li rk we e t or gh h ro e tn ei . om n b es n w l t a s e e rm fin ck d an ed it di d w ia ffi te cu h lt ite va to . lue

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o sh refl e r t i h e ak lig f m e th ty o i e nt s er. u s t o o t o t in e am of ma m has e h e u t c t i L is urfa , wh t s n i lack e a b h p d t n e a by sity en w o h n i W m sity. u o l n i t s m o is no lu e the m r e h t means

s

The silhouette technique allows us to gradually di stribute light and shadow to show the volume of objects.

r ression caused when Colvo isual imp Is the atter. m n o s t c a p m i t ligh ary colors eed prim To paint we n lors + secondary co lors + or tertiary co ary color. and one prim

= =

, , rimary colors p g in ix m y b produced e secondary n o g in ix m y , made b

the sa me co The diff lor ar erenc es tha e cau sed b t we c Tona Tint y l va the fo an see Satu lue betw llowi ratio n g qua een n is th lities e am is th If we ount : is th e add c olo of e blac

l k, wh intensity ight in th r itself. at co o ite o r a co r purity lor. o m f p a the c leme colo olor n t a ry co r. will lose its p lor, urity .

If when two colors are mixed together using certain proportions they make a neutral color, these two colors are complementary + =

Dots

Elsa Morales Ella y la luna

JJ Moros Sideros

Mario Abreu Selva amazónica

2000 Acrylic on canvas 59.7 x 50 cm FMN collection, Museo Arturo Michelena Photo Archive Museo Arturo Michelena

1994 Soldered and polished iron 131 of diameter x 20,5 cm Empresas Polar collection Photo Archive JJ Moros

1956 Oil on canvas 89.5 x 179.5 cm FMN collection, Galería de Arte Nacional Photo Archive Cinap

Lines

Texture

Jesús Soto Untitled (Étude pour une série) 1952-1953 Paint on wood 102 x 102 x 6 cm Museo de Arte Moderno Jesús Soto collection Photo Luis Brito and Ramón Lepage

Manasés Sirena negra

Jesús Guerrero Cancha

Gego Partiendo de un rectángulo II

1981 Acrylic on canvas 150 x 100 cm FMN collection, Galería de Arte Nacional Photo Archive Cinap

2001 Acrylic and charcoal on waxed canvas 240 x 240 cm Artist’s collection Photo Eduardo Paparoni

1958 Bent, screwed and enamelled aluminium strip 32 x 36 x 37 cm Privada Allegro Foundation collection Photo Luis Becerra

Seka P-2

Alirio Palacios San Jorge

Cornelis Zitman L’Iinconnue (Mujer en hamaca)

Undated Pottery, earthenware, oxides and enamels 58 x 45 cm of diameter FMN collection, Museo de Arte Contemporáneo Photo Morella Muñoz-Tébar

1997 Engraved sheet of wood 195 x 260 cm Artist’s collection Photo Renato Donzelli

1972 Patinized bronze, woven vegetable fibre and seeds 184 x 251 x 125 cm FMN collection, Galería de Arte Nacional Photo Archive Cinap