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CHIAROSCURO

CHIAROSCURO. CHIAROSCURO. Drawing technique. CONTENT: Definition . Main representatives . Introduction to the drawing technique. CONTENT: Definition . Main representatives . Introduction to the drawing technique. Definition.

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CHIAROSCURO

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  1. CHIAROSCURO

  2. CHIAROSCURO Drawing technique

  3. CONTENT: • Definition. • Mainrepresentatives. • Introduction to the drawing technique.

  4. CONTENT: • Definition. • Mainrepresentatives. • Introduction to the drawing technique.

  5. Definition

  6. CHIAROSCURO Is a drawing technique that consists in the use of strong contrastsbetweenvolumes, some illuminated and others shadowed to highlight some elementseffectively

  7. CLAROSCURO

  8. CLAROSCURO CHIAROSCURO The chiaroscuro technique can be applied in painting, drawing and in engraving. This technique emphasizes the details of any work.

  9. Chiaroscuro is established by the valuation??? of the tones. The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light.

  10. Chiaroscuro is established by the valuation of the tones. The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light. Valuation of tones

  11. Chiaroscuro is established by the valuation of the tones. The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light. Valuation of tones

  12. Chiaroscuro is established by the valuation of the tones. The valuation can be established in the paper through monochromy, the areas of volume of the body, starting from light. Valuation of tones

  13. The valuation work consists on placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

  14. The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

  15. The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

  16. The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

  17. The valuation work consists of placing the different ranges of gray so as to model the shapes from its flat representation, creating a three-dimensional effect.

  18. the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

  19. the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

  20. the lights reflected the area in which the lathe is indicating the proximity and direction of the light source

  21. the lights reflected the area in which the lathe is indicating the proximity and direction of the light source Los tonos mas oscuros marcan la profundidad máxima de los volúmenes

  22. the lights reflected the area in which the lathe is indicating the proximity and direction of the light source Los tonos mas oscuros marcan la profundidad máxima de los volúmenes

  23. Main representatives

  24. Leonardo Da Vinci (1452- 1519)

  25. Leonardo Da Vinci (1452- 1519) he realized that copying the shapes of the shadows was essential to create the illusion of the third dimension and capture the features of the model.

  26. Monalisa (1503-1505) • Leonardo discovers the overall facial structure through the forms of the shadows without details or outlines.

  27. Michelangelo Merisi da Caravaggio (1571- 1610)

  28. Michelangelo Merisi da Caravaggio (1571- 1610) Is considered the first great exponent of Baroque painting.

  29. to accentuate the realism, he emphasizes his figures and scenes by the effects of light, making them stand out from the dark background, the light does not spread smoothly, but emerges from the side and falls over the figures on the scene, clearly delimiting illuminated shapes in which the colors are vivid and intense and dark areas stands out.

  30. The Incredulity of Saint Thomas 1601-02 Oil on canvas, 107 x 146 cm Sanssouci, Potsdam

  31. In its formation appears the influence of the schools of Lombardy and Venice, by the intensity of its color and the concern for the mastery of light, in this first stage are the Flight into Egypt and Bacchus. Bacchus c. 1593Oil on canvas 67 x 53 cmBorghese Gallery, Rome

  32. Introduction to the technique

  33. When you draw you're creating an illusion

  34. The technique to create this illusion is called Chiaroscuro

  35. Chiaroscuro is the result of the observation of light and shadow about the shape

  36. When the shape is properly illuminated it is divided into two main masses: Light and Dark

  37. Areas of chiaroscuro

  38. Clear illumination area. This area identifies the part that receives the light rays directly.

  39. Clear illumination area. This area identifies the part that receives the light rays directly.

  40. Penumbra area. Also called opaque halftone. This area identifies the area between the clear zone and the dark zone, ranging from clear to dark, through gray variety.

  41. Penumbra area. Also called opaque halftone. This area identifies the area between the clear zone and the dark zone, ranging from clear to dark, through gray variety.

  42. Dark area. Also called shadow itself, is the area that receives no ray of light, and stays dark.

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