Choose a lighter powder to set concealer and that will double as an eye primer, and a deeper shade that works with the foundation tone. Test the color of the powder on the skin after applying foundation.
Concealers should blend into your skin, lightening dark circles and instantly making you look better. Concealers are the secret of the universe. While concealers are available that cover tattoos, spots, blemishes, scars, redness, and bruises, most people use a concealer to lighten dark circles under the eyes. Different concealers and correctors are formulated for each specific use. Pick a concealer and, when needed, a corrector designed for each of your problem areas.
Under-eye concealers are not formulated for use on blemishes or areas of redness. They are creamier in consistency and lighter than the skin tone. Using under-eye concealer on areas of redness will only highlight the imperfections. Yellow-toned foundation that matches the skin tone is the best way to adequately cover blemishes, scars, and tattoos.
The application of under-eye concealer is the most important step in any makeup routine. Concealer is the one product that, when chosen and applied correctly, can instantly lift and brighten the face. Choose a color one to two shades lighter than the foundation. The skin under the eye is very thin, so the blue of the fine veins just under the surface tend to show through.
A light yellow-toned concealer masks this blue discoloration and brightens the skin. For those with alabaster skin, a porcelain-toned concealer will work. Sometimes a stick foundation one or two shades lighter than the face can serve as an under-eye concealer for those who need very little coverage.
Correctors are available for extreme under-eye darkness. When a regular concealer cannot fully lighten the under-eye area, a peach or pink corrector is used to counter the purple or green tone. A regular yellow-toned concealer is usually lightly layered over the corrector to lighten the under-eye area. Occasionally, those with extremely deep purple or green coloration under the eye will not need the layer of regular concealer.
Tips Some women need between two and four colors that can be mixed and blended to accommodate changes in skin tone under the eye, which can vary with the time of day, amount of rest, and hormones.
Sometimes a corrector is enough to solve the under-eye problem. Rules should be followed, but there should be flexibility for what works where. Sometimes something as bold as a bright pink or peach cream blush will work for very intense darkness. If your skin is pale, choose the lightest colors, beginning with bisque or light pink. For deeper skin tones, choose peach or darker peach. Pink 1 Begin with a clean face.
Apply corrector generously, making sure there is enough to block the darkness. Darker Peach 1 Begin with a clean face. This is the deepest, darkest area of the face, so apply the corrector densely.
Never rub or drag your finger across the skin. Note the darkness is not severe. Make sure it is applied up to the lashes and in the inner corner space between the eye and the bridge of the nose.
Apply corrector using a small concealer brush and starting at the inner eye. Troubleshooting: Corrector or Concealer If it creases Using enough powder applied correctly is key.
If you skimp, it will end up creasing. If the eye makeup transfers to the concealer Use eye makeup remover, a cotton swab, or a sponge and remove all under-eye product. Start over with eye cream, and let it absorb before applying other eye makeup. Clean brush between corrector and concealer steps. Apply after corrector in most cases.
Repeat two times if necessary. The reason we wear foundation is to even out our skin tone and texture. When applied correctly, the result is skin that looks clear and smooth. But, what is most important is that the skin look better than it did without foundation. Some women shy away from foundation because they associate it with thick pancake makeup that sometimes looks like a mask. But even the strongest makeup should have a natural-looking base.
Formula Foundations are available in many different formulas. Choose one that is right for your skin and style and has a consistency you like to use. Use the following guidelines to choose your formula. Gives a sheer, light-weight coverage and is an alternative to foundation.
Provides a totally natural look. Great for weekends. Provides sheer coverage. Intensively hydrates and gives skin a dewy finish. Balm actually plumps the skin and reduces the appearance of fine lines.
Provides easy spot coverage and is also buildable for medium to full coverage. Best foundation for photography. Hydrates and smoothes, providing medium to full coverage. Hydrating formulas provide medium to full coverage. Balances the skin by hydrating dry areas and absorbing oil in the T-zone. Provides medium to full coverage. For combination skin in the summer. Absorbs oil and smoothes while providing light to medium coverage. Absorbs oil, providing medium to full coverage.
A good choice to cover acne and large pores. Because of the portable packaging, compact foundations are great for touch-ups. Be careful when choosing color. Oily skin can change color of powders, and they may appear dry and pasty. Finding the Perfect Shade Once you have decided on the right formula of foundation, you need to find the right shade. The correct shade will disappear on the skin. Make sure the foundation is yellow-based. Everyone has yellow undertones in their skin.
Pink-based foundations look like a mask on most people. Only 1 percent need a pink tone: those who sunburn even in the shade. Foundation should not change the color of the face but simply even out the tone. Test several shades of foundation on the side of your face, between the nose and the side of the cheek. Make a stripe of foundation in the preferred formula from cheek to jawline, gently blending into the skin.
Also test a shade lighter and a shade darker for comparison. The correct shade will disappear. Double-check the selected color on forehead. Sometimes women have darker skin on the forehead, and the foundation shade that matches here will work better for the whole face. Always test foundation in natural light.
Walk to a window or doorway to check the match. The swatch that disappears into the skin is the right shade. Do not test foundation on the hand or arm, as the face is rarely the same color as the rest of the body. If your skin tone gets darker in the summer or on a vacation, you may need to adjust the foundation tone. Keep a deeper shade of foundation on hand to accommodate changes in skin tone.
It can be blended with your regular foundation if you are between shades or used alone when skin is darkest. Oily skin sometimes turns foundation darker.
Check and adjust accordingly. Stick foundation that is a shade or two lighter than the skin tone can be used for light under-eye coverage instead of concealer. Moisturizers and oil- control lotions can be applied to parts of the face that need it to counterbalance the foundation choice. Tools The right tools help you apply foundation quickly and easily, with great-looking results.
Sponges, also called makeup wedges, are used with foundation. Makeup can be applied directly to the sponge or face and gently blended into the skin. Some prefer to use a foundation brush. The synthetic bristles of this brush type can be used with all foundation formulas for a smooth and even application. Fingers are the best tool for warming and blending makeup into the skin. You can use the hands to warm a product before application.
Foundation, concealer, lip color, and even pencils spread more easily on the skin if they are at body temperature. Use the fingers to apply makeup for complete control over placement of the product. Always thoroughly clean the hands and nails before applying makeup. To see the true effect of the foundation, let it settle for a few minutes.
Then blend or layer in more foundation in spots where it is needed. Select the tone properly. Sometimes the skin needs yellow, red, orange, or blue. The face color should match that of the body. Face has a lot of redness Use a sheer coat of foundation, making sure the skin tone can be seen through it.
Use bronzer lightly on the face, neck, and chest to blend. Orange-peel texture coming through First try a light moisturizer on your palms to warm it up. Then press it into the skin. Layer with more foundation. Greatly hydrate the skin. Wait two minutes and change the foundation formula to work with the skin. Pasty-looking skin The color is too light. Check the color following the tips below. Yellow-looking skin The color is too dark.
Recheck the color on the forehead and cheek. Switch to another color and correct with bronzer. Some women need to use two shades on different parts of the face during different times of the year. Gently blend into skin. The correct color will look like your natural skin tone. Apply foundation all over or only to the parts that need it. Use your fingers to press the foundation into the skin to fully blend. They want their skin to look smooth, even, and flawless. Each ethnicity has its own unique and beautiful traits and I believe in using makeup that enhances, rather than masks, these traits.
Many Asian women are prone to and concerned about sunspots, which are the result of sun damage. Aside from wearing sun protection every day, the best way to deal with sunspots is with corrective peach- and pink-toned concealers. Some women have skin with yellow undertones and yellow surface tones. For them, I suggest covering the sunspots with a medium-toned peach corrector.
If the concealer is too light in tone it will look gray on the sunspot, so you may have to try a few different tones to find the right one. Other women have skin with yellow undertones and pink surface tones often the result of skin irritation due to using bleaching agents. The best way to cover their sunspots is with a medium-toned pink bisque corrector. After applying the corrector, gently smooth on a yellow-toned foundation in a shade that matches your skin perfectly.
Black Skin There are many variations in skin tone among black women, so consider the following advice as general guidelines rather than hard and fast rules. Black skin tends to be darker across the forehead and perimeter of the face, and lighter on the middle parts of the face, including the cheeks. Some women like enhancing the golden tones in their skin, and other women like playing up the warmer tones in their skin.
If you want to go golden, choose a tinted moisturizer or sheer foundation that matches the skin on the center of your face. If you want to go warm, choose a tinted moisturizer or sheer foundation in a shade that falls between the lighter and darker parts of the face. Applying a dark shade of foundation all over the face will look unnatural so the idea here is to tone down the difference between the light and dark areas.
Look for a yellow-based foundation that has a bit of orange, red, or blue to it, depending on how deep the color of the skin is. Lighter black skin looks most natural with yellow-based foundation that has a touch of golden orange. Very dark skin looks best with yellow-based foundation that has warm cinnamon tones.
Latin Skin Latin women generally have golden skin with olive undertones. Some women have pink surface tones around the nose and mouth, and on the cheeks due to skin irritation and sensitivity. Latin skin tans very easily, turning a golden cinnamon during summer months. Alternately, in the winter months, skin tends to take on a yellow-green cast. Bronzer is a great year-round beauty staple for Latin skin because it can be used in the summer to add warmth to your foundation, and in the winter to counteract sallow coloring.
Latinas range in coloring from fair to dark so one shade of bronzer does not fit all. If you are fair, choose a bronzer that has pinky-red tones to it. If you are darker, choose a brownish-red bronzer. When shopping for foundation, look for a yellow-based golden shade to complement the natural tones in your skin. Be careful not to go too golden with your foundation, however, because skin will start to look orange. Middle Eastern Skin Middle Eastern skin is very similar to Latin skin in that it is golden with olive undertones.
Many women complain of extreme darkness under the eyes. The best way to cover their purplish-green and brownish-green under-eye circles is with corrective peach- and pink-toned concealers. If you have golden surface tones, use a peach-toned concealer one shade lighter than your foundation to cover your dark circles. If you have pink surface tones due to sensitivity , start with a peach-toned concealer to cancel out the darkness, then layer on a pink-toned concealer to brighten the under-eye area and make it similar in tone to the rest of the face.
In most instances this combination of concealers will offer enough coverage. If you still see under-eye darkness, you may have to layer on a third concealer—a yellow- toned one in a skin-tone-correct shade Multiethnic Skin Many beautiful mixed-race women need to be open and observant about what makeup looks natural.
Basic rules apply, but sometimes these women need multiple products or bronzers as mix-ins to make foundation look great. Others do best with the thinnest layer of expertly blended foundation.
In special cases, you will need a skillful hand and specific application techniques. The best makeup artists recognize skin conditions, treat them appropriately, and use the perfect combination of product and technique to make the skin look its best. These product suggestions and techniques for various special skin conditions are basic guidelines. The trick is knowing when the makeup is working and when it needs to be changed. Experimentation is usually needed to achieve the desired results.
Too dense a product can make the face look masklike. Correct with a bronzer. Use an oil-free foundation all over the face during the summer, consider a more moisturizing formula for the winter. Either formulation can be used on specific areas of the face as needed. Balm or oil can be applied lightly on top of foundation.
Try to match the skin tone exactly. Concealers, which are a shade or two lighter than the face, should not be used on blemishes. Pat the area lightly. Do not rub. Blend into a small area directly around the blemish. Powder to lock the product s in place.
Continue with foundation. A bronzing gel can be blended into the skin starting at the cheek area, working around the face. This will help blend the more pigmented skin. Experiment, as concealer alone is often too light and will highlight the spot rather than cover it effectively. Set foundation with powder. First, apply a pale yellow—toned foundation or concealer that is three to five shades lighter than the skin tone. Then, apply one that is only slightly lighter than the overall skin tone.
Finally, apply a full-coverage foundation that matches the skin tone. Set with powder. Again, experiment to find the right tone and formulations to effectively cover very dark spots. If stick foundation or cover stick does not cover them, try using Covermark, a heavy-duty concealer designed for tattoos and scars. Apply foundation that matches skin tone to the whole face, and set with a powder that matches the skin tone.
Two different tones of foundation can be used to match each of the skin tones. Blend well to create an even transition between tones. Bronzer can be used over foundation to even out skin tone. A gel bronzer applied to moisturized skin prior to foundation evens the skin as well. Foundation can then be applied where needed.
Use a tinted moisturizer that evens out skin tone, and consider using a bronzer to finish. ACNE Start with the right skincare regimen, and use oil-free moisturizers. Apply blemish cover stick with a small, clean brush, or spot conceal with an opaque foundation only in those areas where needed. Use a tinted moisturizer or lightweight liquid foundation to even out the skin tone. The trick is to blend away the discoloration without applying heavy coverage.
Ex-foliate regularly with a gentle scrub or an alpha hydroxy acid cream. Use water-infused hydrating ultrarich moisturizers and creamy makeup formulas. For lines around the lips, use a lip balm. Choose a creamy lipstick and matching pencil to prevent feathering.
Choosing the Right Powder Color Like foundation, powder works only when it is the right shade. For most people, the right powder has a yellow undertone. While the color of the powder will vary to match the foundation, it is the yellow-toned base that will give warmth to the skin.
White powder is right only for those with alabaster skin. Translucent powder is not invisible or transparent and only makes skin look ashy. Texture Pressed powder is best for touch-ups.
It dispenses a small amount and comes in a convenient compact. It is great for those who like a very natural look. Loose powder is denser and provides more coverage. Depending on the application technique, loose powder can be matte or sheer. Not everyone needs powder. Tools The right tools will supply the perfect amount of powder. Using a powder puff will give powder a smooth, opaque finish. A powder brush will allow a sheer finish.
A clean powder brush is also used to remove excess powder after an application with a powder puff. A small concealer brush can be used to apply powder to the corners of the face—under and around the eyes and around the mouth and nose.
Tip Oily skin can turn powder yellow or orange with time. Sometimes you have to choose a lighter color. To avoid powder buildup on oily skin, use an oil-blotting paper before touching up. But everyone needs powder over concealer. This powder is often lighter in color than the face powder.
Troubleshooting: Powder After an application of concealer, foundation, and powder step back and observe what you have done. Do the products blend seamlessly and invisibly into the skin?
Do you see any darkness or redness? Do not continue with any other makeup until the skin looks the best it can. If you need to improve how the skin looks, stop and look. Can it be corrected with a bronzing product? Or should you begin again using a different product? Orange Is the skin oily? Did it change? Switch to paler powder and wait to check the results. Flaky The skin is too dry. Cakey Make sure you have enough moisturizer on the skin. The foundation-to-moisturizer ratio may be giving the powder too much grab.
They are also used as correctors to warm up the complexion. Applying bronzer is a great way to add a healthy glow all over the face and to even out color differences, especially through the neck. Bronzers work on all skin tones except porcelain because bronzer can make porcelain skin look dirty. Self-tanners can be used on the face and body to add color and hide flaws. Bronzer works as a blush for very dark skin. On all other skin tones, blush should be used over bronzer to add a pop of bright color.
Color: How to Choose Bronzers work best when the skin looks natural. They can be brown-, red-, blue-, orange-, and sometimes yellow-based. Self-tanners are available in cream, gel, and spray, and are often mixed with moisturizer to get the best results. I use it to add a tint of color to the skin and to correct light foundation or red skin.
I found this textbook to be very comprehensive. As one can quickly grasp from the table of contents, this book covers all of the major introductory topics for approaching and discussing art and visual culture as well as some focused topics that As one can quickly grasp from the table of contents, this book covers all of the major introductory topics for approaching and discussing art and visual culture as well as some focused topics that are not typically found in "Intro to Art" texts.
The authors organize the information in a manner that effectively builds upon previous sections, while also maintaining the ability to assign specific chapters and sections independently. The images of techniques and processes are also helpful i. The key terms found throughout the text are also very helpful and are perhaps more useful at the end of each chapter, rather than a comprehensive glossary at the end of the book.
While it can be difficult to address global art production with an unbiased voice, I found the overall content to be thoughtful and generally balanced.
I appreciated the broad questions posed to the reader, and found them to be very interesting and engaging i.
Why do we make art? What is the difference between Art V Craft? While the discussion of some specific works are at times perhaps too narrow, and draw upon singular, declarative statements in order to support a point, the authors generally promote critical thinking and exploration of broad concepts.
It is perhaps noteworthy to mention that some chapters were more effective in presenting a global perspective than others, although this is addressed in more detail below. Overall, I found the content to be accurate and well-researched. One of the strengths of this text centers on the timely content, which references modern technology and concepts, as well as popular culture.
I also really like the ability to pull up supplementary images throughout the text by clicking on imbedded links, although I found several of them in need of updates. I appreciated the inclusion kinetic art and new media within the comprehensive list of formal elements for 2D, 3D, 4D art, and found the overview of Aesthetics to be intentionally geared toward contemporary readers.
There were many sections of the text that seemed to be specifically aimed at addressing current trends in art production and interpretation. Chapter 9 equally engaged with the role of visual culture in contemporary societies by addressing Art and Power propaganda, both symbolic and documentary , and offered an interesting dialog on building visual literacy.
I found this to be extremely relevant, especially given the role of visual imagery in popular culture and social media. The chapter on Ethics is also quite relevant, and highlights the perception of visual culture and how it changes over time. Finally, the discussion on appropriation is very timely, as is the component that addresses museums. The questions posed regarding collecting and display practices are often left out of introductory texts, but are extremely relevant in contemporary times.
Overall, the text is approachable and clear in tone, and effectively guides the reader on how to best use this resource i. I found it to be a very useful text that presents complex concepts in a manner that non-specialists will easily understand. I also found the various case studies that are used to guide the reader in applying theories and methods to be very effective.
Another strength of this text is its consistency in presenting and disseminating content. The authors developed a number of components that are found in each chapter which draw the reader's attention to recognizing and applying key concepts. I found each chapter to be clearly and effectively structured, with appropriate subheadings and use of bold text to highlight important ideas and terms.
This made the text very easy to navigate. I also found that the overall content maintained a consistency in tone, in spite of the fact that multiple contributors were working on any given chapter. The text is very clear and approachable, yet engages with complex theories and concepts. It would be very easy to assign portions of this textbook throughout a teaching term, as most chapters can function as independent units, while also effectively engaging with other sections.
I like the overarching themes of each chapter, which could easily be realigned as needed, and the fact that the subunits are of a manageable length. This book offers instructors a great amount of flexibility. I also found the subheadings to be very thoughtful in expounding upon the overall topic in each respective chapter. It is very easy to navigate through the various subunits, and the overall content is very appropriate in building an effective discussion of the various topics at hand.
While I really like the use of imbedded links to view images and expound upon concepts, some of the links did not work and need to be updated. Regardless, I like the fact that the use of links allows for the text to remain current, and to highlight contemporary content, developments, and artists. The text offers a sound explanation of artistic concepts, and makes an effort to present a global perspective. I appreciated the attempt to use both recognizable images from the Western canon as well as lesser known works, although some chapters were more effective in presenting a global perspective than others.
Chapter 4 addresses formal analysis, although the overall discussion is largely focused on degrees of representation in the arts. This seemed to present a very "Western" perspective of artistic development, and could perhaps benefit by highlighting western and non-western objects, as well as naturalistic and abstract pieces. I appreciated the discussion of conventions in Chapter 4, and how the text traces them across cultures.
However, when addressing cultural style, it might be helpful in some cases to note the role of "time" the Western examples were presented according to how various artistic conventions developed over time, while many of the the non-Western examples, such as the Ancient Near East, are not given this same treatment.
I appreciate the inclusion of female artists such as Lilly Martin Spencer and Frances Palmer in Chapter 5, as well as the addition of a few non-Western pieces, but the chapter is still quite heavily Western, as is Chapter 6, which maintains a Judeo-Christian focus. This chapter could perhaps be broadened by engaging with diverse belief systems. This seemed to be rectified in numerous other chapters. For example, Chapter 7, which focused on architecture, was more intentional toward representing global perspectives and works of art, which I found to be very helpful in understanding global art production.
I also appreciated how Chapter 10 highlighted global engagement with sacred structures, sites, rituals, and performances, as well as their significance. The open source text "Introduction to Art: Design, Context, and Meaning" is an impressive resource that addresses the foundations of approaching, discussing, and understanding art through both historical and contemporary lenses. The authors took on an impressive amount of work to create a textbook that engages with contemporary topics, while laying the foundations for effective visual literacy.
This text covers almost all of the bases one would expect for an introductory class. Its biggest problem is the lack of inclusion of non-western examples in its presentation.
The European art tradition dominates the discussion, with some The European art tradition dominates the discussion, with some allowance for Chinese and Japanese.
You look in vain for references to African, Latin American, Oceanic, or indigenous art, even when they would be an obvious choice given the ongoing discussion. This text has been written and edited carefully by veteran teachers. I did not see any errors or the use of suspect research. The chapters are judiciously chosen and are placed in a logical order. Again, the only thing old-fashioned here are the relentless insistence on using the western canon as the basis of discussion.
This text has been carefully written and has been painstakingly edited. I particularly thought Ch 2 was a standout in the way it presented the basic categories of art. At many points I berated myself for failing to present material so clearly in my own classes! Once again, it is worth stating that the editing is of admirable quality.
A lot of thought has gone into maintaining similar terminology and reference points as the chapters progress, even though they have different sets of authors.
The use of keywords is also a strong feature, since many of them recur as the book progresses. I liked the yellow bars on the right side which assist in moving between chapters. This is very user-friendly. Chapters in particular are disappointing in that they offered a chance to move away from a traditional, Eurocentric approach. While the authors do include some non-western examples as they proceed, they still rely too much on European art. Chapter 11 is also disappointing—with non-western art having been plundered systematically for a long time and its placement in First World museums being increasingly problematic, it is not even mentioned.
Well done on a very user-friendly text. However, some extra work in terms of broadening the geographical base of examples is definitely in order. As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art.
I didn't note an index. The exception to this for me is Chapter 2, which is essentially a studio class in a chapter a rapid-fire discussion of all artistic media, design elements, design principles, and color theory for good measure.
This chapter contains no less than "Key Terms! Though likely a result of copyright issues, to present most contemporary accounts as a block of black text visually diminishes their importance. Would like to see links changed to more persistent format. With regard to writing, the work is generally clearly written, and approachable to beginning students.
People who have made a disciplined study of art can offer ideas about what art is important and why. The work also had a tendency to bounce around. Writing seemed consistent throughout.
However, I found instances of sloppy formatting: definitions were often in bold a few letters or even a word beyond the word being defined. Beyond this, I could imagine this formatting being confusing for students as words that were in bold indicated definitions and sometimes, but not always, were designated as Key Words at the end of each chapter.
For example, on p 63, four terms are defined in one paragraph unity, variety, conceptual, interval, scale, proportion , but only two words interval, scale are designated as Key Words. I find using a different formatting technique in this case, such as color, would be helpful in assisting students in identifying Key Words earlier at the beginning of the chapter.
I enjoyed this aspect of the work! I would especially use the final chapters for my classes such as Art and Power, Art and Ethics. I found these chapters to be thoughtful and relevant to students, and especially appreciated their being structured around case-studies.
Good summaries and questions to accompany the readings, especially later in the text. Worked great for me! I also appreciated how the Hyperlinks took me to new works, and that I could return to my spot on the page when I clicked the back button. Please note Relevance section regarding links. I appreciated the interweaving of Western and Non-Western narratives, though found that, especially if one were focusing on the imagery, that the works presented felt skewed Western.
I found this book to be a good "skeleton" text for a variety of courses. I liked that it had chapters dedicated to both formal analysis Chapters Two, Four, and Five but also managed to include global perspectives Chapter Eleven: Art and Ethics I liked that it had chapters dedicated to both formal analysis Chapters Two, Four, and Five but also managed to include global perspectives Chapter Eleven: Art and Ethics was especially thought-provoking.
The themed chapters Chapter Eight: Art and Identity and Chapter Nine: Art and Power are relevant for any Art History course, and I use them for all courses, including World Art, Art 1, 2, and 3 these cover the prehistoric to contemporary periods, collectively.
The addition of Key Terms at the end of chapters was also helpful. When I decided to use this text, my main concern was regarding whether the content would be easy to connect to my prior courses' designs. I used Henry M. Thanks to the chapter that discussed the general theories about what art "is" Chapter One , and the clear language that mirrored Sayre's creative drives found in Chapter 6, mainly , I easily transitioned to using this book for my course.
Inclusivity is consistent in the discussion of works from different cultures and geographic areas. I was impressed by the mention of postcolonial topics, and even the addition of 4-D in relation to formal descriptions.
This is a text that has incorporated recent scholarly perspectives and new genres in art. I had fun adding OER readings about identity, especially, in order to complement the chapter in this text.
I have had feedback from students regarding the easy-to-follow format and text used in this book. I also find it easy to get through in a short amount of time.
Chapters One, and Two are great for the first few weeks. I save Chapter Four for the middle of most classes, in which we are beginning to do more art descriptions as a group. I use Chapter Six towards the end of the courses, where the class begins to conduct research and observe more creative drives and themes. I apply Chapters Eight and Nine based on the time periods, and how relevant they are the subject matter or styles covered in the course.
I have thought about inserting Chapters Eight and Nine right after Chapter One in order to address the modern period and the growing individualism in modern art.
I will be teaching a short-term course about Architecture this semester, and am excited to use Chapter Seven: Form in Architecture. Excellent -- these are short, include many genres, mediums, and cultural styles in a sensible way. Usually, the chapters include a variety, and this enhances the global perspectives that the authors encourage. It also makes it easier to select works of art to focus on, if you are covering particularly modern or World Art, for example.
No issues with interface. The format is easy to navigate, and my only suggestion is to create hyperlinked headings for chapters in the Table of Contents, so that you could jump to the chapters a little sooner. Small suggestion, though. It's very well formatted and designed.
As stated in the Relevance section, this book offered good topics that were easy to connect to contemporary or recent studies in non-Western art Global Art perspectives. It was a compatible text and I would recommend "Introduction to Art" for its culturally-sensitive and unbiased perspectives, especially if building a course about global approaches to art. This text covers several, if not all, the bases needed to fully appreciate art making processes, historical perspectives, variations, time periods, methods, criticism, purposes, associations, and artists.
Each chapter opens with objectives and Each chapter opens with objectives and concludes with an evaluative activity. The authors present varied perspectives that are appropriate to understanding the diversities that are encompassed in the art world. The images included are also significant and comprehensively representative. However, many of the images also depict the same imagery found in other books. Students reading this material need to also see work from a more balanced sampling of artist genders.
I applaud the discussion of the Nazi art theft. The text contains mostly accurate information, but could use further clarity. For example, if using Indigenous names, use tribal identifiers, such as Piikani for those who identify as Blackfeet.
While appropriation, as covered in Chapter 11, is an integral part of the contemporary artworld, it is also presented as acceptable and normalized. It should also be included that appropriation is not universally accepted and is fought by several artists today. For example, there was recently a court case by Ai Weiwei brought against Volkswagen for copyright infringement based on appropriation of his work used in an ad. For a General Education class, there is no doubt that this text would work toward appreciation of art making, art history, criticism, and aesthetics.
Additionally, some points would be relevant to students who have been practicing in the art field already, as well as those who plan on teaching art at the K level. The authors have written using clear language and vocabulary that are appropriate and relevant to the early college student.
However, it would be more effective to have the vocabulary listed at the onset of the chapter, as opposed to the end. In doing so, the students can reinforce learned words and make connections throughout the reading.
It also acts as an introductory feature. The flow and voice are consistent. Level of difficulty is upheld and relevant throughout, as well. Each chapter in this text can work independently of each other.
However, in being able to comprehend and apply information in some of the latter chapters, one would have needed to cover material, specifically, in Chapter 1 and The text is excellently organized.
The authors began with the foundation of defining art through discussions of contemporary diverse purviews held. The organization is logical and would be in a manner that I would present in my course. The text file is easy to access and navigate. The URL links are clear, as well. However, it would be helpful in supporting the learning to provide links on the images to their sources, as well.
I found the cultural aspects of the text to be limiting. The authors touch on the fact that art is not viewed identically throughout the world, which I applaud given that this is a tremendous part of the art perspective today.
Chapter 10 discusses masks, but only examples one. There are thousands of cultural groups across the globe that use masks for purposes from theater to holidays. The text is a good resource for basic understandings. It may be best served for an online course given that much of the relevant information is laid out in the text. The book could spend more time with processes of creating--the different types of paint, printmaking, etc.
It seems to be very brief in introducing the elements and principles of art as well. Although each chapter has a glossary, it does not have Although each chapter has a glossary, it does not have an index, which I usually find to be helpful in textbooks. The images also lack some key information that is standard in other art textbooks--no dates, no dimensions, no media. I truly disliked that about the text. While I appreciate the gender-neutral language of the text craftsperson , I do not feel that it is totally error free and accurate.
For example, the authors use the dated notion of "sympathetic magic" when discussing cave paintings, which is a theory, but is not widely accepted any longer. They also refer to cherubs or putti as cupids. Cupid is a specific deity. One really glaring problem is the use of "Eskimo" on page They need to reframe the use of that term to indicate it is not an acceptable way of describing the Inuit or Yupik cultures.
The text has a nice mixture of old and new art, and examples of contemporary art could easily be updated. My one issue with the relevancy is that many of the contemporary works of art and other examples they employ are not pictured, but given as hyperlinks. Those links could easily be broken in the future. I understand that obtaining copyrights to those works could be prohibitive, but it's a distraction from reading the text to send students to a website to look for the example provided.
On page , paragraph three, the authors are referring to a conceptual artist, but they omit the word artist, and don't define what a conceptual artist is. They also often refer to historical styles of art without defining what that means. How are my students supposed to know what Beaux Arts or Art Nouveau are without some sort of explanation p.
On page , they mention the Franks, but don't explain who the Franks are. On page , they mention a tympanum, but don't define what a tympanum is, nor is it in bold to indicate that it is in the glossary , although it is defined in the glossary.
There are also some areas that are not very clearly written, such as paragraph 2 on page On page , while discussing Chichen Itza, they discuss Quetzalcoatl but don't tie it to the pyramid in anyway at all. I found the beginning of the text to be much more clearly written and compelling than the second half of the book. It provides almost too many examples of art to discuss an idea. You could fairly easily rearrange the order of chapters or omit a chapter without needing the others to support the content.
This for my class would be necessary in chapter 2, where bizarrely, they discuss processes before elements and principles. It seems to be organized fairly well, although chapter 2 does have me a bit confused. It would also be good of them to introduce abstract vs. Again, I worry about using so many hyperlinks in a text such as this. They could easily become dated or broken, leaving the reader frustrated. Some of the images are low quality, and some of the diagrams are very hard to see, so I am concerned about students with vision issues.
Oh boy! Again, I didn't start seeing major problems here until around page Page , Fig 7. I felt that it was very culturally inclusive, using artistic examples from around the globe, but perhaps focused too much energy on Christianity. Again, framing the use of the word Eskimo would be worthwhile. There were some things I thought were really unique and wonderful about this textbook. The first four chapters had me very excited about the possibility of a OER book for my students.
I especially thought chapter 3 had some valuable and unique ideas that would be super fun to share with my students. Chapter 5 is where it started to lose me. They discuss how important iconography is, but don't really give any analysis of specific symbols in a deep and meaningful way.
They could have used the Merode Altarpiece as a platform to really dive deep into Christian symbolism, but only mention a few of the icons that are present.
I know these are things that can be done in the classroom, but I was a little disappointed by the vagueness of their analyses and the overabundance of examples. This is a review of the hard copy, purchased from Amazon.
A more in-depth exploration of the elements of design or visual elements , the principles of design, as well as the deeper exploration of various art mediums and techniques would be helpful. Each chapter begins with learning outcomes and ends with review questions and key term definitions, this is definitely helpful for students to understand the basic concepts of the text.
The book has accurate historical and cultural facts, and includes the correct titles of works and artists. However, most of the printed images have no dates, mediums, and dimensions.
The text is relevant for our times, as it introduces a wide range of Western and non-Western, multicultural artforms and traditions.
It also includes sections on the role of politics, economics, and ethics in the visual arts. The writing is clear and concise, it is easy to follow and understand. The Key Terms at the end of each chapter serve as a good review of the introduced vocabulary. Each chapter is broken up into smaller sections, so readers can proceed at their own pace and know what to expect is each subsequent chapter. The text is organized in a logical, but not historical manner.
The concepts presented flow smoothly from one postulation into the next. However, when exploring the PDF version, the links throughout the text are a great asset. The text is clearly written and grammatically correct. Readers are able to comprehend and understand the concepts and ideas presented.
While the content is dominated with Western Art concepts and examples, it still includes a number of diverse cultural works and traditions from different historical eras and locations. As a basic introductory book, it is more than adequate. Instructors can definitely pick and choose the parts they find useful and add their own additional content when needed.
Students will understand the content and like its cost, even if they decide to order a hard copy. The text covers a broad array of art movements both geographically, and temporally, though I think the non-Western selections are a bit slim.
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Simply print these Munsell color charts on your desktop inkjet printer! The eBook comes as a PDF file. As of Dec. Privacy Overview. Strictly Necessary Cookies Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
Enable or Disable Cookies. It is readily available in stores. However, you can create your color wheel chart by yourself.
To create one, take out the colors you use for painting. Paint a small square box of each color in a piece of white paper to create a color palette. Complementary Color Wheel Chart tri-art. The aim of the Color Chart and, more specifically, color theory is to come with a methodological color structure that cuts across all classes and types of designs.
Among the three, the color wheel is the most popular and familiar. Colors may seem ordinary and usual, but for designers and artists, each color means something and must be combined and complemented wit h a right color partner.
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