The Importance of Collage
Activity: In making a collage,
students can bring to it all of the questions that they consider
when making a painting or a sculpture, but many find the process
easier because they can use found objects to create their projects.
Spend some time on the Web sites listed below to help students
understand what a collage looks like and how it works. Though
Picasso was the first artist to bring collage into a museum, it has
existed as an art form for centuries.
1.Prepare
students to think about the following project as if it were a puzzle
of their own making. They will choose images that go together, so
they should consider the size and shape of the images and how they
will fit into the overall shape of the completed collage.
2.Ask students to pick a theme: It can be home or school, a special interest, an event or just an idea that they have been thinking about.
3.Have your students start collecting images related to their theme. Ask them to think about how they want to put the pieces together. For example, do they want to cut the pictures into clean geometric shapes or tear them out and leave ragged edges?
4.Students should work on a layout for the images and then think about bits of found objects: leaves, seeds, bits of string, plastic, or metal. Hair, glitter, and different colors of tape or paper add texture and color.
5.Once students have made their decisions about layout, instruct them to begin the process of affixing the images and objects they've chosen. Proceed until all articles are glued to the paper.
6.Once the collages have dried, students can also draw on or write in any text that they think fits into the collage.
7.Collages are now ready to hang in class!
Variation: The activity above is geared toward horizontal collages, on paper. Depending on the interests of the class, these collages can be created in three dimensions as well: in shoe boxes as dioramas, or on wire hangers as mobiles. The only additional supplies would be the shoe box for dioramas or wire hangers for mobile support, as well as string and additional cardboard for the hanging images of the mobile.
collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole.
A collage may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.
The term collage derives from the French "coller" meaning "glue".[1] This term was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.
An artistic composition of materials and objects pasted over a surface, often with unifying lines and color.
1.A work, such as a literary piece, composed of both borrowed and original material.
2.The art of creating such compositions.
3.An assemblage of diverse elements: a collage of conflicting memories.
2.Ask students to pick a theme: It can be home or school, a special interest, an event or just an idea that they have been thinking about.
3.Have your students start collecting images related to their theme. Ask them to think about how they want to put the pieces together. For example, do they want to cut the pictures into clean geometric shapes or tear them out and leave ragged edges?
4.Students should work on a layout for the images and then think about bits of found objects: leaves, seeds, bits of string, plastic, or metal. Hair, glitter, and different colors of tape or paper add texture and color.
5.Once students have made their decisions about layout, instruct them to begin the process of affixing the images and objects they've chosen. Proceed until all articles are glued to the paper.
6.Once the collages have dried, students can also draw on or write in any text that they think fits into the collage.
7.Collages are now ready to hang in class!
Variation: The activity above is geared toward horizontal collages, on paper. Depending on the interests of the class, these collages can be created in three dimensions as well: in shoe boxes as dioramas, or on wire hangers as mobiles. The only additional supplies would be the shoe box for dioramas or wire hangers for mobile support, as well as string and additional cardboard for the hanging images of the mobile.
collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole.
A collage may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.
The term collage derives from the French "coller" meaning "glue".[1] This term was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.
An artistic composition of materials and objects pasted over a surface, often with unifying lines and color.
1.A work, such as a literary piece, composed of both borrowed and original material.
2.The art of creating such compositions.
3.An assemblage of diverse elements: a collage of conflicting memories.
PAINTINGS
Painting
is the practice of applying paint, pigment, color or other medium[1]
to a surface (support base). In art, the term describes both the act
and the result, which is called a painting. Paintings may have for
their support such surfaces as walls, paper, canvas, wood, glass,
lacquer, clay or concrete. Paintings may be decorated with gold leaf,
and some modern paintings incorporate other materials including sand,
clay, and scraps of paper.
Painting is a mode of expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature.
A portion of the history of painting in both Eastern and Western art is dominated by spiritual motifs and ideas; examples of this kind of painting range from artwork depicting mythological figures on pottery to Biblical scenes rendered on the interior walls and ceiling of The Sistine Chapel, to scenes from the life of Buddha or other scenes of eastern religious origin.
The Importance of Still Life Painting
Many students find still life painting dull, probably because they resent the discipline entailed and are unable to sustain their interest.
And there are art educators who claim that drawing and/or painting still life is just a mechanical exercise that cannot be conducive to expressive (and truly artistic) art.
But if you study the masters, both classic and modern, you will notice that many of their most important works are still life paintings.
Look at masterpieces of portraiture in which still life accessories are employed, and see how important they are to the painting.
Still life painting is a complete and fascinating subject in itself, but it is also an excellent exercise for the beginner students who are getting ready to start painting outdoors.
Many of the problems that arise when painting landscapes can be solved by still life practice.
Along with improving your knowledge of drawing, you learn the mixing and handling of your paint and brushes.
Every type of texture can be studied by a careful selection of the objects to be painted. Silk, with its hard, shining lights, and the heavy, dull, absorbent quality of velvet can be observed as they form the draped background of your subject.
Common kitchen objects contain a wealth of shapes and textures to be captured on canvas.
Flowers, fruit, and vegetables abound with both obvious and subtle color.
Books, lamps, furniture... everything found in your home can be incorporated into leasing subjects.
You can create your own compositions, lighting effects, and arrangements of color.
The important thing is that all these vital ingredients of successful painting can be studied and solved leisurely.
Then, when you paint outdoors and the effects are fleeting, you will be better prepared to cope with them, having had some technical experience.
Poster
A poster is usually a printed paper announcement or advertisement that is exhibited publicly. Whether promoting a product, event, or sentiment (such as patriotism), a poster must immediately catch the attention of the passerby. There is no set way to accomplish this; success can stem, for example, from the instantaneous impact of a concise, striking design or from the sumptuous appeal of an ornate work of art.
By extension, the term poster is used to denote a paper panel printed for display as a novelty or as a work of art. Although printed public advertisements can be traced to the 15th century, the poster as it is understood today did not emerge until around 1860, given impetus by the invention of lithography, which allowed brilliantly colored posters to be produced cheaply and easily.
The first of the great modern poster artist, Jules Cheret, began his career in 1867 with a theatrical poster announcing a performance by Sarah Bernhardt. His captivating depiction's of the entertainers of Parisian nightlife, rendered in clear, radiant colors, dominated Paris displays for the last 30 years of the 19th century and also attracted others to the medium. The result was extraordinary diversity of style, from the folk art imagery of anonymous lithographers to major works by the best known of the poster artists.
Henri de Toulouse-Lautrec's posters of the 1890’s, characterized by bold, dramatic designs, are lively and sensitive depiction's of Parisian personalities. Interest in the poster was heightened by the appearance in the 1890s of the style known as Art Nouveau, characterized by flowing, organic lines, elegant grace, and a richly complex symbolism. Because it combined decorative brilliance with a faith that fine art could be popular and useful, the movement found the poster a natural form. The undisputed master of Art Nouveau was a Czech living in Paris, Alphonse Mucha. His first poster was for Sarah Bernhardt; its exotic Byzantine ornament and subtle use of color brought him overnight success; it was the first of a legacy of posters by him, ranging from grand theatre announcements to advertisements for cigarette papers and chocolate, that remain unsurpassed in beauty and inventiveness. Among the many other manifestations of the Art Nouveau poster were, in Paris, the elegant works of Georges de Feure and Eugene Grasset; in The Netherlands, the stylized posters of Jan Toorop; in Austria, the elegantly ordered works of Koloman Moser and Alfred Roller; and, finally, the work of Will Bradley, who brought the style to the United States.
With the outbreak of World War I in 1914, the poster became an art that could influence history. Prior to the ascendancy of motion pictures and television, it was politically the most important of all visual media. It was easily produced and immediate in impact, and it could be posted wherever there was a public to see it. Given such a role, posters of war and revolution may be quite forceful, varied, and revealing. The propagandistic posters of the early years of the Soviet Union, for example, aimed at a largely illiterate population, are blunt and powerful; those of the late Austro-Hungarian Empire have a lyrical medieval gallantry; and those of World War I America display a swaggering hometown naivete. All reveal a need to embody not only the aspirations of the group that produced them but of the entire people to whom they were addressed. An outstanding example is James Montgomery Flagg's famous U.S. recruiting poster of Uncle Sam pointing directly at the viewer, a forceful call to patriotism during World War I.
The industrial boom of the early 20th century gave rise to advertising posters for virtually every conceivable product and event. Many express the spirit or stylistic excess of their day, from the primitive and folk art quality of early circus posters to the sophisticated and streamlined travel posters of the 1930s.
The onslaught of radio and television and an almost complete reliance on photography in advertising, however, brought about an eclipse in poster art. From the 1960s on, a regeneration of popular art forms, beginning with popular music, led to a new interest in posters. In San Francisco, where the movement was strongest, posters announcing weekly dance hall concerts echoed the golden age of the poster of the 1890s.
1.A large, usually printed placard, bill, or announcement, often illustrated, that is posted to advertise or publicize something.
2.An artistic work, often a reproduction of an original painting or photograph, printed on a large sheet of paper.
3.One that posts bills or notices.
Posters are an effective means of publicizing issues of importance to public health and serve a role in both education and intervention campaigns. In the 1980s and 1990s, antitobacco campaigns made a prominent use of posters. Among the several content analyses of health communications, one on antitobacco posters assessed the shift in the thematic content of such posters over time. There has been an evolution in antitobacco posters from an emphasis on disseminating knowledge to one on stimulating action among the public. The former approach was aimed at effecting change at the individual level, the second aims more at social action. This follows a basic tenet in social marketing theory that market segmentation is important, though many posters do not demonstrate a clear understanding of this approach.
Educational posters
Research posters and "poster sessions"
Main article: Poster session
Posters are used in academia to promote and explain research work. They are typically shown during conferences, either as a complement to a talk or scientific paper, or as a publication. They are of lesser importance than actual articles, but they can be a good introduction to a new piece of research before the paper is published. Poster presentations are often not peer-reviewed, but can instead be submitted, meaning that as many as can fit will be accepted.
Classroom posters
Most classrooms in North American schools have posters on the walls. There are several types of these posters:
Advertising posters for products used or discussed in the class (e.g. movie posters in a film class).
Books on poster, in which entire works of literature are legibly printed onto single posters.
Motivational posters, similar to those found in offices or specific to the class subject matter.
Quick reference posters: In elementary schools, these usually include first-language vocabulary charts (numbers, colours, weather, etc.) and multiplication tables. In secondary and post-secondary schools, they are more likely to include second-language vocabulary charts, the standard periodic table and related graphs, and laboratory safety protocols. A world map and one or more regional maps are common at all levels.
Posters giving more detailed information on a subject, usually containing paragraph-form text, in relatively small print.
Pseudo-advertising posters for sports, works of classic literature, etc.
The latter two types are sometimes prepared by students as part of an assignment, but most posters are usually store-bought.
Flat Pictures
May be used ti reinforce impressions, to add new facts, or to provide new facts, or to provide meaning to obstruction.
Pictures are sometimes referred to as a “universal language”. It can do many things for us: they can arouse interest, stimulate discussion, raise questions, supply information and ideas, and otherwise contribute to learning.
There are many forms of pictures. There are still pictures and motion pictures. Some pictures are projected by means of slide or transparencies, others, classified as “flat pictures”, appear as opaque presentations in books, magazines, and news papers, in set of study prints, or as drawing, paintings, or photographic prints.
We define flat pictures as opaque representation of visual images, as in a painting, drawing or photograph.
flat pictures can enlarge or reduce scene that cannot otherwise be seen by the unided eye.
Flat pictures, however, are ideal for individual use as well. The student can examine them for as long as a brief a time as he wishes.
The general implication for teacher is that flat pictures are well suited to the teaching of concepts .
Painting is a mode of expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature.
A portion of the history of painting in both Eastern and Western art is dominated by spiritual motifs and ideas; examples of this kind of painting range from artwork depicting mythological figures on pottery to Biblical scenes rendered on the interior walls and ceiling of The Sistine Chapel, to scenes from the life of Buddha or other scenes of eastern religious origin.
The Importance of Still Life Painting
Many students find still life painting dull, probably because they resent the discipline entailed and are unable to sustain their interest.
And there are art educators who claim that drawing and/or painting still life is just a mechanical exercise that cannot be conducive to expressive (and truly artistic) art.
But if you study the masters, both classic and modern, you will notice that many of their most important works are still life paintings.
Look at masterpieces of portraiture in which still life accessories are employed, and see how important they are to the painting.
Still life painting is a complete and fascinating subject in itself, but it is also an excellent exercise for the beginner students who are getting ready to start painting outdoors.
Many of the problems that arise when painting landscapes can be solved by still life practice.
Along with improving your knowledge of drawing, you learn the mixing and handling of your paint and brushes.
Every type of texture can be studied by a careful selection of the objects to be painted. Silk, with its hard, shining lights, and the heavy, dull, absorbent quality of velvet can be observed as they form the draped background of your subject.
Common kitchen objects contain a wealth of shapes and textures to be captured on canvas.
Flowers, fruit, and vegetables abound with both obvious and subtle color.
Books, lamps, furniture... everything found in your home can be incorporated into leasing subjects.
You can create your own compositions, lighting effects, and arrangements of color.
The important thing is that all these vital ingredients of successful painting can be studied and solved leisurely.
Then, when you paint outdoors and the effects are fleeting, you will be better prepared to cope with them, having had some technical experience.
Poster
A poster is usually a printed paper announcement or advertisement that is exhibited publicly. Whether promoting a product, event, or sentiment (such as patriotism), a poster must immediately catch the attention of the passerby. There is no set way to accomplish this; success can stem, for example, from the instantaneous impact of a concise, striking design or from the sumptuous appeal of an ornate work of art.
By extension, the term poster is used to denote a paper panel printed for display as a novelty or as a work of art. Although printed public advertisements can be traced to the 15th century, the poster as it is understood today did not emerge until around 1860, given impetus by the invention of lithography, which allowed brilliantly colored posters to be produced cheaply and easily.
The first of the great modern poster artist, Jules Cheret, began his career in 1867 with a theatrical poster announcing a performance by Sarah Bernhardt. His captivating depiction's of the entertainers of Parisian nightlife, rendered in clear, radiant colors, dominated Paris displays for the last 30 years of the 19th century and also attracted others to the medium. The result was extraordinary diversity of style, from the folk art imagery of anonymous lithographers to major works by the best known of the poster artists.
Henri de Toulouse-Lautrec's posters of the 1890’s, characterized by bold, dramatic designs, are lively and sensitive depiction's of Parisian personalities. Interest in the poster was heightened by the appearance in the 1890s of the style known as Art Nouveau, characterized by flowing, organic lines, elegant grace, and a richly complex symbolism. Because it combined decorative brilliance with a faith that fine art could be popular and useful, the movement found the poster a natural form. The undisputed master of Art Nouveau was a Czech living in Paris, Alphonse Mucha. His first poster was for Sarah Bernhardt; its exotic Byzantine ornament and subtle use of color brought him overnight success; it was the first of a legacy of posters by him, ranging from grand theatre announcements to advertisements for cigarette papers and chocolate, that remain unsurpassed in beauty and inventiveness. Among the many other manifestations of the Art Nouveau poster were, in Paris, the elegant works of Georges de Feure and Eugene Grasset; in The Netherlands, the stylized posters of Jan Toorop; in Austria, the elegantly ordered works of Koloman Moser and Alfred Roller; and, finally, the work of Will Bradley, who brought the style to the United States.
With the outbreak of World War I in 1914, the poster became an art that could influence history. Prior to the ascendancy of motion pictures and television, it was politically the most important of all visual media. It was easily produced and immediate in impact, and it could be posted wherever there was a public to see it. Given such a role, posters of war and revolution may be quite forceful, varied, and revealing. The propagandistic posters of the early years of the Soviet Union, for example, aimed at a largely illiterate population, are blunt and powerful; those of the late Austro-Hungarian Empire have a lyrical medieval gallantry; and those of World War I America display a swaggering hometown naivete. All reveal a need to embody not only the aspirations of the group that produced them but of the entire people to whom they were addressed. An outstanding example is James Montgomery Flagg's famous U.S. recruiting poster of Uncle Sam pointing directly at the viewer, a forceful call to patriotism during World War I.
The industrial boom of the early 20th century gave rise to advertising posters for virtually every conceivable product and event. Many express the spirit or stylistic excess of their day, from the primitive and folk art quality of early circus posters to the sophisticated and streamlined travel posters of the 1930s.
The onslaught of radio and television and an almost complete reliance on photography in advertising, however, brought about an eclipse in poster art. From the 1960s on, a regeneration of popular art forms, beginning with popular music, led to a new interest in posters. In San Francisco, where the movement was strongest, posters announcing weekly dance hall concerts echoed the golden age of the poster of the 1890s.
1.A large, usually printed placard, bill, or announcement, often illustrated, that is posted to advertise or publicize something.
2.An artistic work, often a reproduction of an original painting or photograph, printed on a large sheet of paper.
3.One that posts bills or notices.
Posters are an effective means of publicizing issues of importance to public health and serve a role in both education and intervention campaigns. In the 1980s and 1990s, antitobacco campaigns made a prominent use of posters. Among the several content analyses of health communications, one on antitobacco posters assessed the shift in the thematic content of such posters over time. There has been an evolution in antitobacco posters from an emphasis on disseminating knowledge to one on stimulating action among the public. The former approach was aimed at effecting change at the individual level, the second aims more at social action. This follows a basic tenet in social marketing theory that market segmentation is important, though many posters do not demonstrate a clear understanding of this approach.
Educational posters
Research posters and "poster sessions"
Main article: Poster session
Posters are used in academia to promote and explain research work. They are typically shown during conferences, either as a complement to a talk or scientific paper, or as a publication. They are of lesser importance than actual articles, but they can be a good introduction to a new piece of research before the paper is published. Poster presentations are often not peer-reviewed, but can instead be submitted, meaning that as many as can fit will be accepted.
Classroom posters
Most classrooms in North American schools have posters on the walls. There are several types of these posters:
Advertising posters for products used or discussed in the class (e.g. movie posters in a film class).
Books on poster, in which entire works of literature are legibly printed onto single posters.
Motivational posters, similar to those found in offices or specific to the class subject matter.
Quick reference posters: In elementary schools, these usually include first-language vocabulary charts (numbers, colours, weather, etc.) and multiplication tables. In secondary and post-secondary schools, they are more likely to include second-language vocabulary charts, the standard periodic table and related graphs, and laboratory safety protocols. A world map and one or more regional maps are common at all levels.
Posters giving more detailed information on a subject, usually containing paragraph-form text, in relatively small print.
Pseudo-advertising posters for sports, works of classic literature, etc.
The latter two types are sometimes prepared by students as part of an assignment, but most posters are usually store-bought.
Flat Pictures
May be used ti reinforce impressions, to add new facts, or to provide new facts, or to provide meaning to obstruction.
Pictures are sometimes referred to as a “universal language”. It can do many things for us: they can arouse interest, stimulate discussion, raise questions, supply information and ideas, and otherwise contribute to learning.
There are many forms of pictures. There are still pictures and motion pictures. Some pictures are projected by means of slide or transparencies, others, classified as “flat pictures”, appear as opaque presentations in books, magazines, and news papers, in set of study prints, or as drawing, paintings, or photographic prints.
We define flat pictures as opaque representation of visual images, as in a painting, drawing or photograph.
flat pictures can enlarge or reduce scene that cannot otherwise be seen by the unided eye.
Flat pictures, however, are ideal for individual use as well. The student can examine them for as long as a brief a time as he wishes.
The general implication for teacher is that flat pictures are well suited to the teaching of concepts .
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