Interakcija med barvo in risbo v likovnem prostoru : magistrsko delo

Košar, Alja (author), Frelih, Črtomir (mentor)

Barvo največkrat povezujemo z likovnim področjem slikanja v ploskvi, kjer barva živi v svoji polni moči. Točko in linijo pa največkrat povezujemo z likovnim področjem risanja in grafike. Ko združimo barvo in risbo, dobimo barvno risbo. Kaj pa je barvna risba? Kaj jo označuje? Takšna in podobna vprašanja smo si zastavili v magistrskem delu, ki raziskuje interakcijo med barvo in risbo v likovnem prostoru. V teoretičnem delu smo sprva predstavili in opisali lastnosti pojmov, ki so povezani z barvo in risbo. Ti pojmi so: točka, linija in barva. Opisali smo tudi odnose med barvo in obliko ter spoznali psihološke in fiziološke vplive posameznih barv. Magistrsko delo smo nadaljevali z analizo umetniških in lastnih del. Dela smo analizirali glede na Butinovo generativno shemo in vprašanja, ki smo si jih zastavili: Kaj označuje barvno risbo? Kakšni so pristopi oziroma načini ustvarjanja barvne risbe? Kakšen občutek nam bodo dajala likovna dela, kaj v njih prevlada – barva ali oblika, kaj vidimo najprej? Kje je tista meja, ko barvna risba preide v sliko? Glede na analizo in odgovore smo prišli do zaključka, da lahko umetniško delo označimo za barvno risbo – tisto delo, v katerem prevladujeta likovni izrazni sredstvi točka in (ali) linija, ki sta izraženi z barvo, s katero tvorijo barvni odnos. Seveda ne moremo vsakega likovnega dela označiti za barvno risbo in ni dovolj, da imamo zadovoljeno eno izmed značilnosti, ki označujeta barvno risbo. Zadovoljeni morata biti obe možnosti oziroma morata biti vidni v likovnem delu. Na primer, če imamo risbo, kjer vidimo, da prevladuje linija, ki jo vidimo izraženo samo v zeleni barvi, to delo ne bo barvna risba, saj ena sama barva ne tvori nobenega barvnega odnosa. Za takšen odnos sta potrebni minimalno dve barvi. In, če na likovnem delu vidimo zelo pestro in raznoliko uporabo barv, v katerih že prevladujejo manjše ploskve do te mere, da se lahko vprašamo, ali je delo barvna risba ali slika, potem sigurno tega umetniškega dela ne moremo označiti kot barvno risbo. Tako smo ugotovili posebnosti barvne točke in linije ter raziskali do sedaj še ne toliko raziskano temo.

• Language: Slovenian
• Keywords: risba, točka, linija, ploskev
• Work type: Master's thesis/paper
• Typology: 2.09 - Master's Thesis
• Organization: PEF - Faculty of Education
• Publisher: [A. Košar]
• Year: 2016
• Number of pages: 75 str.
• PID: 20.500.12556/RUL-88348
• UDC: 7.017.4:74(043.2)
• COBISS.SI-ID: 11392585
• Publication date in RUL: 31.08.2017

Secondary language

• Language: English
• Title: Interaction between colour and drawing in art space

Abstract

Colour is usually associated with the art form of painting on surface where colour comes to life in its full vigour. Point and line are mostly linked with drawing and graphic. When we combine colour and drawing we get a coloured drawing. What is a coloured drawing? What characterizes it? These and additional questions were raised in master's thesis which is focused on researching interaction between colour and drawing within space. In theoretical part we first introduced and described the concepts linked with colour and drawing. These concepts are: point, line and colour. We also described the relations between colour and shape and got to know the psychological and physiological effects of individual colours. We then proceeded in master's thesis with the analysis of works of arts and our own works. When analysing works we used Butin's generative scheme and the questions we raised: What are the characteristics of a coloured drawing? What are the approaches or methods of creating a coloured drawing? What feeling will the work of art evoke? What prevails in them – colour or shape, what is it that we see first? Where is the boundary between a coloured drawing and a painting? According to the analysis and the answers obtained we concluded that the work of art could be a coloured drawing, if a coloured point and (or) line prevail as artistic means of expression and form a relationship between colours. Not every artwork is a coloured drawing and only one feature characteristic of a coloured drawing does not suffice. Both features must be seen in an artwork. For example, a drawing in which prevails a line expressed only in a green colour is not a coloured drawing; one colour only does not form a relationship between colours. Minimum of two colours are needed for this kind of relationship. If we spot a great variety and diversity of colours used in an artwork, in which small planes prevail to the point that we can ask ourselves whether the work is a coloured drawing or a painting, then this artwork cannot be characterized as a coloured drawing. Thus, we discovered individualities of coloured point and line and researched a topic not yet well known.

• Keywords: fine arts, graphic arts, colour, likovna umetnost, grafika, barva