Bilingual art units

Educación Plástica e Visual Bilíngüe 1º ESO 1

UNIT 1 : VISUAL IMAGES Visual languages

“A picture is worth a thousand words” * “Unha imaxe vale máis ca mil palabras”

Visual languages use universal images that people from different countries, cultures and societies can understand. Photography, film, television, comics and cartoons use visual languages to transmit different messages. Thanks to the internet, new computer artists use images, animation and sounds to create new languages. Web pages combine these different types of communication. An image is the visible appearance of a person, object or thing, represented by an expressive form of art (drawing, painting, sculpture, photography, etc) http://www.visualthesaurus.com/index.jsp PARTS OF AN IMAGE

In order to understand an image, we must know its basic components: the visual elements that make up an image, its meaning, and the materials and techniques used to create it. - Visual elements. First we must recognise the parts of an image: dots, lines, colours, textures, spatial order and composition. -Meaning. Next, we use our knowledge, ideas and feelings to decipher the meaning of an image. -Materials and techniques. Finally, we analyse the artist´s materials (pigments, papers, plastics, fabrics, etc) and techniques (drawing, painting, photography, computer technology…)

A VISUAL OR ARTISTIC IMAGES

Visual images are what we see with our sense of sight when we look directly at a person, a view or an object. These images take on a new dimension when represented artistically: we call them paintings, sculptures or photographs, etc.

B REPRESENTATIVE OR ABSTRACT IMAGES

Images represent reality in different ways. If an image looks a lot like its subject, we talk about likeness, or representation. If an image is different from its subject, we talk about abstract style.

C IMAGES FROM THE MIND

These images show a reality different from the one we see; they can only be perceived through our intellectual involvement. For this reason, they are personal images from the artist´s memory, emotions or imagination.

“I WANT YOU FOR THE US ARMY” J.M Flagg´s ,poster. 1917 poster, based on the original British which was used to recruit soldiers for both World War I and World War II. V. Kandinsky: Abstraction, 1939. Oil on Canvas P. Amargo: cover Illustration of an Alejandro Sawa´s book


D SYMBOLIC IMAGES Images can represent ideas, concepts or more complex meanings. Symbolic images provide a direct link between an image and an idea.

F DIGITAL IMAGES

These days we can create images on a computer. These images can be still or moving. Multimedia presentations and applications use all sorts of images to transmit different messages. The popularity of the digital camera has also helped make digital images a universal form of expression. REPRESENTING IMAGES WITH SHAPES - Shape is a visual element with a defined surface area. http://www.visualthesaurus.com/app/view - Shape is the outside appearance of an object. It is defined by its colour, texture, size an structure. Shapes can be different because of their origin. FLAT SHAPES - The simplest conceptual elements we use in graphic art are: the triangle, the square and the circle. PARTS OF A SHAPE - Contour: it is the outside line of a figure. It is a simple element with a few details and gives a clear visual message. - Siluette: it id defined by an enclosed space of the same colour or texture. It highlights the most important part of a shape and focuses on its visual message. - Enclosed space: it is the inner surface of a shape made by its contour. It gives us more visual information because it has colour and texture. OPEN AND ENCLOSED SHAPES - Enclosed shapes have a perfectly defined contour and often use flat or nearly flat surfaces. REGULAR AND IRREGULAR SHAPES - Regular shapes are polygons that have equal sides and angles, such an equilateral triangle, a square, a regular pentagon, etc. All other shapes are irregular shapes. POSITIVE AND NEGATIVE SHAPES - We usually write on paper using black as the positive element we write with and white as the negative element we write on. - Positive shapes take up a specific space and negative shapes are the empty space that is left over.


VOCABULARY UNIT 1: VISUAL IMAGES

Abstract: adjective /ˈæbstrækt/ Abstract art expresses the artist's ideas or feelings rather than showing the exact appearance of people or things. (Abstracto)

Appearance: noun /əˈpɪərəns/ [countable/uncountable] the way that someone or something looks. (Apariencia)

Applications: noun /ˌæplɪˈkeɪʃ(ə)n/ [countable] computing a piece of computer software that is designed to do a

particular job. (Programa ou conxunto de programas destinados a unha función determinada, Os procesadores de textos e as follas de cálculo son aplicacións moi comúns.)

Cartoons: noun [countable] a film or television programme, especially for children, that is made by photographing a

series of drawings so that people and things in them seem to move. (Debuxos animados)

Decipher: verb [transitive] /dɪˈsaɪfə(r)/ to understand something mysterious or confusing. (Descifrar)

Detail/s: noun /ˈdiːteɪl/ [countable] one of many small facts or pieces of information relating to a situation. (Detalle)

Fabric/s: noun /ˈfæbrɪk/ [countable/uncountable] cloth, especially when it is used for making things such as clothes

or curtains. (Tecido)

Highlight: verb [transitive] /ˈhaɪˌlaɪt/ to make something easier to see or notice. (Destacar, Subliñar)

Image/s: noun /ˈɪmɪdʒ/ [countable] a picture or idea of something in your mind. A photograph, painting, or other work

of art that represents a person or thing. (Imaxes)

Likeness: noun /ˈlaɪknəs/ the quality of being similar to someone or something else. (Parecido)

Make up: phrasal verb [transitive] make up something to combine together to form something larger. (Formar parte) (Ocupar) Moving: adjective /ˈmuːvɪŋ/ used for describing something that is moving or that is able to move. (Animado: que ten

vida, que se move)

Nearly: adverb /ˈnɪə(r)li/ almost, or near to a particular amount of time, money, people, or things. (Casi)

Polygon/s: noun [countable] maths /ˈpɒlɪɡən/ a flat shape with three or more sides and angles. (Polígonos) Still: adjective /stɪl/ not moving. (Inanimado: que non se move) Surface: noun /ˈsɜː(r)fɪs/ [countable] the top layer or outside part of something. (Superficie) Take up: phrasal verb [transitive] to fill a particular amount of space or time. (Ocupar) * YOU CAN FIND ALL THIS DEFINITIONS AND MANY OTHER WORDS IN THE FOLLOWING ON LINE DICTIONARIES: Word definitions: http://www.macmillandictionary.com/ http://www.visualthesaurus.com/index.jsp Pronunciation: http://www.howjsay.com/index.php?word=deliberate&submit=Submit


USEFUL LINKS FOR UNIT 1 : VISUAL IMAGES

http://www.colloandspark.com/phonics-and-sight-words.html

http://www.teachingenglish.org.uk/activities/phonemic-chart

http://en.wikipedia.org/wiki/Image

http://en.wikipedia.org/wiki/Visual_arts

http://en.wikipedia.org/wiki/Phonetics

http://schools.u-46.org/index.pl?id=34636&isa=Category&op=show


UNIT 2: THE VISUAL ELEMENTS OF AN IMAGE

A THE DOT

The dot is the smallest visual element of a drawing. There are two types of dots: the geometric dot and the graphic dot (or graphic symbol) The geometric dot is the point where two straight lines cross each other. The graphic dot is the simplest element used in drawing shapes.

B THE DOT IN SPACE A dot on a surface or a piece of paper provides a focal point that creates tension that we focus on. It can be central, diagonal, vertical, horizontal. These tensions make us feel sensations like order and balance, instability, movement, etc.

C THE POINT OF INTEREST

We see many shapes when look at an image. Each shape is made up of different elements: dots, lines, surfaces and textures. However, there is always one element that call our attention more than others. It is called the point of interest.

D DOTS HAVE EXPRESSIVE VALUE

If we place many dots into a space in an organised way, we can use them to express

complex feelings. We can create abstract or realistic images with dots. See these examples We can shade images to give them a sense of volume. We can express our feelings by using dots to colour an image.

E USING DOTS FOR SHADING AND COLOURING

- Shading: we can use dots to give objects shape, volume and sense of depth. Dots that are close together make darker areas; dots that are farther apart make lighter ones. - Colouring: we can use dots to colour the objects and figures we create. If the dots are closer together, the colour is more intense than if they are further apart. Using dots of different sizes, we can give images a sense of depth.

SMALLEST: o máis pequeno STRAIGHT: recto (neste caso refírese a liñas rectas) CROSS: Cruzar SIMPLEST: o máis simple. ORDER: orden BALANCE: equilbrio INSTABILITY: inestabilidad FEELINGS: sentimentos SHADE: sombra, si é verbo: Sombrear SHADING: sombreado DEPTH: profundidade FARTHER: o máis lonxano FURTHER: o máis

http://www.visualthesaurus.com/index.jsp


A WHAT IS A LINE? The line, like the dot, is a simple graphic element that we use to make shapes and images. When a dot moves, it leaves a trace that we see as a line. “ A line is the graphic representation of a dot in motion” The lines can be straight, curved, broken, wavy, open, closed, etc. Whe must use special Technical Drawing instruments to draw a geometric line. On the contrary, a graphic line is freer and can be made with or without special equipment.

B THE LINE IN SPACE The line is the principal element used to structure space. We can use it to divide a surface into different visual spaces and to centre attention on one of its parts.

C TENSION LINES

All images have a hidden internal structure. Tension lines help us discover the different areas in which a space is divided. Tension lines are imaginary lines that unite the most prominent points of an image.

D THE EXPRESSIVE VALUE OF THE LINE

The way lines are drawn on paper can bring a drawing to life and

communicate multiple ideas and feelings such as peace and serenity, pain, happiness, etc.

E LINES GIVE SHAPE TO IMAGES

One of the most important functions of the line is to assemble shapes in order to create images. To draw a shape, we use contour lines that define objects within an image.

F LINES FOR SHADING AND COLOURING We give a shape a sense of volume and depth when we shade it with lines. We can shade dark areas by drawing parallel lines close together or shade lighter areas by spacing the lines further apart.

Also we can create different areas with coloured lines: parallel lines drawn at an equal distance create a surface. We can make new areas if we change the direction of a line or alternate lines of two or three colours.

TRACE: huella, pegada. STRAIGHT: recto. CURVED: curvada. BROKEN: rota. WAVY: ondulada. TECHNICAL DRAWING: debuxo técnico. HIDDEN: agochada. PROMINENT: os máis importantes, os protagonistas. ALTERNATE: alternar.



A WHAT IS A PLANE? The plane is an expressive element of visual language that we use to draw shapes. Geometrically, a plane is a series of juxtaposed lines that produce a two-dimensional surface that has height and width. We can define the plane as the area or surface within a closed line. Planes, sometimes also called figures, are defined by the shape of the closed line. Depending on their shape, there are two types of planes: - Geometric planes, which have a regular shape (triangles, squares, circles…) and organic planes which are freer and have an irregular shape.

B PLANES AS SUPPORTS

The surface we draw on is called a support. The most common support is rectangular and can be placed horizontally or vertically. Size and position influence the final effect of a composition.

C HOW PLANES ORGANISE SPACE Before we start a drawing, we must decide how to place the visual elements of the image (dots, lines, planes, etc) on the support. There are two simple rules that define how to structure space and how to organise the forms in a drawing:


- The rule of balance dictates that the most important elements should be in the centre of the support and the less important should go to the left or right of the composition. - The rule of compensation tells us that, in order to balance a composition, the bigger an element is, the closer it should be to the centre of an artwork.

D THE EXPRESSIVE VALUE OF THE PLANE A plane becomes an expressive element when we use it to build an image. It depends on its contour, size and arrangement in space to provide expression. - Size can make a plane seem more important or less. - If we place a plane in the centre of the support, it becomes the point of maximum interest.

E PLANES CREATE FORMS

Planes can create shapes and objects. To draw a house, we need only draw a triangle for the roof, a square for the front wall and rectangles to show doors and windows.

JUXTAPOSED: algo que está colocado por riba de outra cousa. HEIGHT: altura. WIDTH: ancho. PLACE: situar. WITHIN: dentro de.



A WHAT ARE TEXTURES? Texture is the visual and tactile quality of all the surfaces around us. Surfaces are made of different materials and each has its own characteristics. They can be smooth, rough, hard or soft, etc. - Natural textures We can find an infinite variety of textures in nature: fruit peel, the surface of leaves or wood shavings. - Artificial textures Artificial textures are man-made. We often create objects that imitate nature and natural textures, for example, artificial plants, artificial firewood, etc. Some household objects use textures for a specific purpose: a rough texture on a handle helps us grip the object better. Artists use texture to add beauty to shapes. The texture of surfaces helps us identify objects that appear in a work of art.

FRUIT PEEL: pel da froita. LEAVES: follas. WOOD SHAVINGS: viruta. FIREWOOD: Madeira de queimar (leña) HOUSEHOLD: doméstico



VOCABULARY UNIT 2: THE VISUAL ELEMENTS OF AN IMAGE

Alternate: verb /ˈɔːltə(r)neɪt/ if one thing alternates with another, they happen or come one after another, in a regular

pattern that keeps being repeated. (Alternar)

Balance: noun /ˈbæləns/ [uncountable] the ability to remain steady in an upright position. (Equilibrio)

Broken: adjective /ˈbrəʊkən/ not continuous (a broken line) (Roto/a)

Cross: verb /krɒs/ [intransitive] if things such as roads or lines cross, they go across each other. (Cortar)

Curved: adjective /kɜː(r)vd/ forming a curve. (Curva)

Depth: noun /depθ/ [countable/uncountable] the distance from the top to the bottom of something, for example the sea,

a river, or a hole. (Profundidade)

Farther: adverb /ˈfɑː(r)ðə(r)/ in or to a place that is more distant. (Máis lonxe)

Further: adjective, adverb /ˈfɜː(r)ðə(r)/ a longer distance.

Feelings: noun /ˈfiːlɪŋ/ an emotional state, for example anger or happiness. (Sentimentos)

Firewood: noun /ˈfaɪə(r)ˌwʊd/ wood used as fuel for a fire. (Leña)

Fruit peel: noun /piːl/ the skin of a fruit or vegetable. (Pel de froita)

Household: adjective /ˈhaʊsˌhəʊld/ used in homes, or relating to homes. (Doméstico)

Height: noun /haɪt/ the degree to which something is high or someone is tall. (Altura)

Hidden: adjective /ˈhɪd(ə)n/ a hidden object or place is not easy to find. (Agochado – escondido)

Juxtapose: verb /ˌdʒʌkstəˈpəʊz/ to place things together or describe things together so that people can see how they

are different.

Instability: noun /ˌɪnstəˈbɪləti/ a situation in which something is not strong and could break or fall down at any time.

(Inestabilidade)

Leaves: noun /liːvz/ the plural of leaf: a flat thin green part of a tree or plant that grows on a branch. (Follas)

Order: /ˈɔː(r)də(r)/ the way in which a set of things is arranged or done, so that it is clear which thing is first, second,

third, etc. (Orde)

Place: noun /pleɪs/ an area, or a position. (Posición, lugar)

Prominent: adjective /ˈprɒmɪnənt/ important and well known. (Importante, destacado)

Small: /smɔːl/ not large in size, amount, or number. (Pequeno)

Straight: adverb /streɪt/ without a bend or curve. (Dereito)

Shading: noun /ˈʃeɪdɪŋ/ art lines or colours that represent areas of shadow in a drawing or painting. (Sombreado)

Simple: adjective /ˈsɪmp(ə)l/ easy to understand, solve, or do. (Simple)

Trace: noun /treɪs/ a slight sign that someone has been present or that something has happened. (Pegada, huella)

Wavy: adjective /ˈweɪvi/ a wavy line or wavy hair has a lot of waves or curls in it. (Ondeada, rizada)

Wood shavings: noun /ˈʃeɪvɪŋz/ thin pieces that have been cut from the surface of something, especially wood or

cheese. (Viruta)

Width: noun /wɪdθ/ the distance from one side of something to the other. (Ancho)

Within: preposition /wɪðˈɪn/ formal inside an area, building, room, or space. (Dentro de)


USEFUL LINKS FOR UNIT 2: VISUAL IMAGES

http://www.youtube.com/watch?v=L96HNVz2bi8 http://www.edu.xunta.es/espazoAbalar/sites/espazoAbalar/files/datos/1329297244/contido/basicelements/elementsofimages/elementsofimages.html http://www.artofthestate.co.uk/Banksy/banksy.htm https://weheartit.com/from/www.banksy.co.uk?page=3&before=24741352 http://www.youtube.com/watch?v=OlOazTY2DQw&list=TLwXl0vCRjF2FYnMXeUsUUSxPXIMlGdu0r https://gcps.desire2learn.com/d2l/lor/viewer/viewFile.d2lfile/6605/4554/Unit_five_lesson_twenty_seven_Balance_in_Art_History_print.html


UNIT 3: COLOUR “The right colour is worth a thousand words”

A LIGHT AND THE RAINBOW

We see rainbow phenomenon when it rains because the white light of the sun´s rays goes through the raindrops and splits into seven colours. These are the seven colours of the rainbow. The same thing happens to white light when it shines through a prism. It splits into different colours when it passes through the triangular glass. This is called refraction.

From 1670 to 1672 Isaac Newton investigated the refraction of light, demonstrating that the multicoloured spectrum produced by a prism could be recomposed into white light by a lens and a second prism.

The colours of the rainbow are always seen in the same order: red, orange, yellow, green, blue, indigo, violet. These colours are called the colour spectrum.

B HOW DO WE SEE COLOURS?

Coloured objects are only a visual impression. The colour is produced in our brain. All objects transmit a sense of colour because their surfaces absorb white light and reflect the colours we see.

The human eye and brain together translate light into colour. Light receptors within the eye transmit

messages to the brain, which produces the familiar sensations of colour. Newton observed that colour is not essential in objects. Rather, the surface of an object reflects some colours and absorbs all the others. We perceive only the reflected colours. Thus, red is not “in” an apple. The surface of the apple is reflecting the wavelengths we see as red and absorbing all the rest. An object appears white when it reflects all wavelengths and black when it absorbs them all.

ADDITIVE PRIMARY COLOURS

Red, green and blue are the additive primary colours of the colour spectrum. Combining balanced amounts of red, green and blue lights also produces pure white. By varying the amount of red, green and blue light, all of the colours in the visible spectrum can be produced.

PHENOMENON: fenómeno. THROUGH: a través de. RAINDROPS: gotas de chuvia. SPLIT: separarse. REFRACTION: refracción. LENS: lente. PRISM: prisma. BRAIN: cerebro. ESSENTIAL: esencial. REFLECTED: reflexados. THUS: así (polo tanto) WAVELENGHTS: lonxitudes de onda. ADDITIVE: aditivo.


C MIXING COLOURS

Some colours are more important than others because we can obtain all other colours by mixing them together. These are called the primary colours. If we can separate white light into the colour spectrum, we can also reverse the process. White light is a mixture of all coloured lights. However, as you can see, we needn´t use all the colours in the rainbow to make white light. Colours of light There are three colours of light that are called primary lights (additive primary colours) because all other colours are obtained from them.

They are basic colours that cannot be made by mixing. These lights are blue, red, and green. To get white light, we only need to mix these three primary lights: red + blue + green = white.

Colour pigments

All the paint colours that exist are made from coloured powder and a binder. This substance makes the colour particles stick together, turning the coloured powder into a substance that provides colours. Depending on the type of binder we use, we can create different types of colouring tools: Watercolours, markers, pencils, pastels, etc. These coloured powders are called pigments. They can absorb and reflect parts of white light.

PRIMARY COLOURS To produce the colour black, we can mix the three primary colours: cyan (blue), yellow and magenta. These three colours are called the primary pigments because you cannot get them by mixing other colours and because all known colours can be obtained when these three are mixed. SECONDARY COLOURS When we mix two primary pigments we obtain a secondary colour. Cyan pigment + yellow pigment = green. Magenta pigment + yellow pigment = red.

Cyan pigment + magenta pigment = purple.

OBTAIN: obter. REVERSE: invertir. MIXTURE: mezcla. HOWEVER: non obstante, sin embargo. BINDER: aglutinante, medium. STICK: pegar. PROVIDE: COLOURING TOOLS: instrumentos para pintar. WATERCOLOURS: acuarelas. MARKERS: rotuladores. PENCILS: lápices. PASTELS: pasteis. POWDERS: polvos. PIGMENTS: pigmentos. ABSORB: absorver. REFLECT: reflexar.


D THE EXPRESSIVENESS OF COLOUR

When creating a landscape, we see that objects have many different colours. These variations in tone or shade depend on texture, light and the surrounding colours. Artists use colour to represent shapes and transmit sensations. Sometimes they use very bright, happy colours and other times they use darker or paler shades to transmit a sense of sadness. Colours can affect our mood.

E COLOUR FAMILIES

A simple way to classify or choose colours when creating a work of art, is to separate them into families. Colours with similar tones belong to a colour family.

BLUES Colours with cyan in more than half of their mixture belong to the blue family. REDS Colours with red in more than half of their mixtures belong to the red family. YELLOWS Colours with yellow in more than half of their mixtures belong to the yellow family.

LANDSCAPE: paisaxe. VARIATIONS: variacións. TONE: tono. DEPEND ON: dependen de. SURROUNDING: circundantes (os colores que estén ó lado) AFFECT: afectar. MOOD: humor. BELONG: pertencer.

VINCENT VAN GOGH: Still life painting “Sunflowers”. Oil on canvas. FRANZ MARC: The large blue horses. Oil on canvas.


F THE COLOUR WHEEL

A colour wheel or color circle is an abstract illustrative organization of color hues around a circle that shows relationships between primary colours, secondary colours, complementary colours, etc A colour circle, based on red, yellow and blue, is traditional in the field of art. Newton developed the first circular diagram of colours in 1666. Since then, scientists and artists have studied and designed numerous variations of this concept.

Primary Colours: Magenta, Cyan and yellow

In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues.

Secondary Colours: Green, orange and purple These are the colors formed by mixing the primary colors. Tertiary Colours: Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green These are the colours formed by mixing a primary and a secondary colour. That's why the hue is a two word name, such as blue-green, red-violet, and yellow-orange.

COLOUR WHEEL: a roda das cores ou círculo cromático. HUES: tonalidades de cor. FIELD OF ART: campo da Arte. DEVELOPED: pasado de elaborar (elaborou) SCIENTIST: científico. ARTISTS: artistas. DESIGNED: deseñaron. DERIVED FROM: proveñen de… SUCH AS: tales como


G COLOUR AND TRAFFIC SIGNS

Traffic signs are part of an international system of communication. They are conventional images that everyone can understand. To avoid confusing their message, their shapes are simple and have no decoration. We have to be able to see and recognise them even when we travel at fast speeds. One of the reasons why this system of codes is understood is due to the use of colour. Colours are used to warn us about danger or inform us of traffic, routes, rest areas, etc.

The Highway Code obliges drivers and pedestrians to behave in a correct way to prevent accidents. The colour red is always used to warn of danger or to prohibit us from doing something. For example, we must stop at a red traffic light because it would be dangerous to go on. The colour green gives us information often related to the environment. The colour blue informs us of a situation and also obliges us to do something. A blue and white pedestrian crossing indicates where pedestrians can cross the road, and makes drivers stop.

TRAFFIC SIGNS: sináis de tráfico.CONVENTIONAL: convencional.AVOID: evitar FAST SPEEDS: velocidades altas.CODES: códigos HIGHWAY CODE: código da circulación.REST AREAS: areas de descanso.BEHAVE: comportarse. PREVENT: evitar. TRAFFIC LIGHT: semáforo. ENVIROMENT: medioambente.PEDESTRIAN: peatón. CROSS: cruzar. DRIVERS: conductores.


VOCABULARY UNIT 3: COLOUR

Absorb: /əbˈzɔː(r)b/ to take in heat, light, or some other form of energy, instead of reflecting it. (Absorver)

Additive: /ˈædətɪv/ a substance that is added in small amounts to something (Aditivo)

Affect: /əˈfekt/ to change or influence something. If something affects something else, it has an effect on it. (Afectar)

Brain: /breɪn/ the organ inside your head that allows you to think and feel, and controls your body (Cerebro)

Binder: /ˈbaɪndə(r)/ a substance used when making other substances that helps them stick together (Aglutinante)

Colour wheel: Abstract illustrative organization of color hues around a circle that shows relationships between

primary colours, secondary colours, complementary colours, etc (Roda das cores)

Enviroment: /ɪnˈvaɪrənmənt/ the natural world, including the land, water, air, plants, and animals, especially

considered as something that is affected by human activity. (Medioambente)

Hue: /hjuː/ a colour (Color, tonalidade)

Landscape: /ˈlæn(d)ˌskeɪp/ an area of land that is beautiful to look at or that has a particular type of appearance.

(Paisaxe)

Lens: /lenz/ a piece of curved glass or plastic that makes things seem smaller, bigger, or clearer (Lente)

Marker: /ˈmɑː(r)kə(r)/ a pen with a thick soft point made of fibres. (Rotulador)

Mixture: /ˈmɪkstʃə(r)/ a combination of two or more different things, people, qualities etc (Mestura)

Pedestrian: /pəˈdestriən/ someone who is walking, especially in a town or city, instead of driving or riding (Peatón)

Phenomenon: /fəˈnɒmɪnən/ an event or situation that can be seen to happen or exist. (fenómeno)

Powder: /ˈpaʊdə(r)/ a soft dry substance that looks like dust or sand (Pigmento en polvo)

Refraction: is the change in direction of a wave due to a change in its transmission medium. (Refracción)

Reverse: /rɪˈvɜː(r)s/ to change the order or development of events, a process, or a situation to be the opposite of

what it was (Invertir)

Sign: /saɪn/ a flat object with words or pictures on it, put in a public place to provide information or advertise

something (sinal)

Tone: a colour or a particular shade (=type) of a colour. (Tono)

Watercolour: /ˈwɔːtə(r)ˌkʌlə(r)/ a type of paint that is mixed with water for painting pictures (Acuarelas)

Wavelenght: /ˈweɪvˌleŋθ/ the distance between two waves of sound or light that are next to each other (Lonxitude

de Onda)


USEFUL LINKS FOR UNIT 3: COLOUR

http://www.youtube.com/watch?v=4YGjBHL-DZg http://www.youtube.com/watch?v=tRNy2i75tCc http://www.deepspacesparkle.com/category/art-lessons/color-wheels-theory/ http://www.eric-carle.com/bb-HRFnotes.html http://www.eric-carle.com/slideshow_paint.html http://www.colormatters.com/color-and-vision/how-the-eye-sees-color http://www.pantone.com/pages/pantone/Pantone.aspx?pg=19357&ca=29 http://midimagic.sgc-hosting.com/pricol.htm

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