This essay will compare and contrast the periods and cultures of The Corinthian Maid, oil on canvas painting by Joseph Wright and The Houses of Parliament, Sunset, also oil on canvas painting by Claude Monet.
The Corinthian Maid is dated 1782-1784 a period in which this painting is associated with the emergence of what is now known as the Neoclassicism Period. This is a period that lasted from 1750-1830 and was considered a spin-off of the Baroque period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (PowerPoint) The culture of this piece would be considered early American Revolutionary War, because during the time of this painting the American War of Independence was being fought between the Kingdom of Great Britain and thirteen British Colonies on the North American Continent.
The Houses of Parliament, Sunset is dated 1903 a period in which this painting is associated with the Modern Period. This is a period that is characterized by a time of rapid change and growth in society. (PowerPoint) Although both paintings are oil on canvas, they are very different in period and culture. Culture is defined as a stage of civilization or a society, American, French, Japanese, Russian, Indian, etc. (PowerPoint) The culture for The House of Parliament, Sunset, can be described best by the time that technology took a social change in America. This piece was done during a time when Henry Ford found Ford Motors, Harley-Davidson was created and the Wright brothers took their first flight.
In conclusion, both paintings are of a time when Americans were on the move to make our country strong and powerful.
This essay will compare and contrast the periods and cultures of The Corinthian Maid, oil on canvas painting by Joseph Wright and The Houses of Parliament, Sunset, also oil on canvas painting by Claude Monet.
The Corinthian Maid is dated 1782-1784 a period in which this painting is associated with the emergence of what is now known as the Neoclassicism Period. This is a period that lasted from 1750-1830 and was considered a spin-off of the Baroque Period of art, which was characterized as an art period of emotion, dynamism, drama and movement. (powerpoint) The culture of this piece would be considered early American Revolutionary War, because during the time of this painting the American War of Independence was being fought between the Kingdom of Great Britain and thirteen British Colonies on the North American Continent.
The Houses of Parliament, Sunset is dated 1903 a period in which this painting is associated with the Post-Impressionism Period. This is a period that lasted from 1886-1905 and was used mostly by French painters. Although both paintings are oil on canvas, they are very different in period and culture. Culture is defined as a stage of civilization or a society. (powerpoint) The culture for The House of Parliament, Sunset, can be described best by the time that technology took a social change. This piece was done during a time when Henry Ford found Ford Motors, Harley-Davidson was created and the Wright brothers took their first flight.
In conclusion, both paintings are of a time when Americans were on the move to make our country strong and powerful.
Wednesday, October 31, 2007
Wednesday, October 24, 2007
Critical Thinking Essay
"Cabinet Makers", 1946, by Jacob Lawrence, Gouache with pencil underdrawing on paper.
"Untitled", 2002, (forground), by Dan Steinhilber.“Cabinet Makers”, 1946, by Jacob Lawrence, Gouache with pencil under drawing on paper and “Untitled”, 2002, (foreground), by Dan Steinhilber are the two pieces we chose for this essay. The reason Emory chose to save the first piece from the Hirshhorn Museum and Sculpture Garden in case a Meteorite was to destroy the building can be summed up in about two hundred words and the second piece by Caroline will follow. First, lets take a look at the portrait by Jacob Lawrence, Cabinet Makers.
Cabinet Makers is a piece with bold splashy colors, done in the Modern period. Modern period is characterized by a time of rapid change and growth to society. In this painting he gives us a history of African Americans that capture a fearless struggle against oppression and there is real heart embedded in his shapes and hues- a sense of hope and optimism, a celebration of a people who refuse to be kept down. Lawrence was a storyteller who used this painting to express an important tale by doing a series of pictures on a single subject. I also like this painting, because of the skewed perspectives and sharp, angular forms he used to convey the energy, movement and tension of the everyday worker. Lawrence's signature style of bold colors, two-dimensional, flat forms, angular planes and tilted viewpoints gave this painting an interesting harmony between form and content.
In conclusion, this painting is definitely a keeper, because of the history it contains for African American artists, its bold colors, angular shapes and not to mention the dynamic cubism style.
2ND Piece of Art
The artwork that Caroline took keen interest on is “untitled” by Dan Steinhilber 2002, (foreground). This is a sculptural artwork that I can relate to because I value the earth and I love to recycle consumer goods as much as I can. Artist, Steinhilber deploys a dramatic impact to me because “untitled” has been constructed or assembled by the use of recycled white kitchen trash bag that has been inflated and tied together by the trash bags distinctive red draw strings; it kind of looks like a giant round flower or giant cotton ball? We can use our imagination here; I guess that’s why it has no specific title; assembling is a process by which individual pieces or segments or objects are brought together to form a sculpture. (Getlein 272) This artwork sure reflects the time and era we live in where each day the TV news, newspapers or magazines we hear about “Save the earth day, latest invention of energy saving appliances, recycling campaign, keep the earth green slogans” the list is endless. I would love to save this sculptural artwork also because of its inflatability characteristics and resiliency which could make it possible to deflate to a standard size and inflate it back again to its magical giant scale by use of wet to dry vacuum as operated at the museum and haul it to a safer environment.
In conclusion, the artist has used mass produced consumer materials to construct an object capable of inducing an aesthetic response; however, inspires the observer to imagine the humanities accumulations and natures slowly overtaking.
Tuesday, October 23, 2007
Activity #10-Mediums and Techniques
The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas. Oil paints consist of pigment compounded with oil, usually linseed oil. (172) In the Corinthian Maid, Wright uses the oil to act as a binder, creating as it dries a transparent film in which the pigment is suspended. Another great advantage of oil is that it can be worked in an almost infinite range of consistencies, from very thick to very thin, Wright chose thin. Also, the colors are blended subtly, in which layers of paint could be applied on top of other layers with little danger of separating or cracking, (173) which is shown in this painting. Joseph Wright, for example, did this painting in glazes, thin translucent veils of color applied over a thicker layer of under painting. (175) This painting also shows the smooth, flawless finish and glowing color that glazes can produce on canvas. By using canvas Wright is able to stretch it out over a wooden frame, sizing it with glue to seal the fibers and protect it from the corrosive action of the oil paint, and then coat it with a white, oil-base ground preserving its image, which is the most important thing and has the visual impact that makes you focus on the two people.
The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas. For about five hundred years the word “painting” was virtually synonymous with “oil painting”. (173) Oil paint is a sensuous medium, it has a distinctive feel and a distinctive smell and working with it can be a pleasure as shown by this magnificent piece. (176) The composition in this painting was worked out well in advance down to the very last detail, and built up methodically, layer after layer. (175) He used a classic procedure to complete the entire painting called grisaille. Also colored glazes are floated over the entire image, and the light and dark colors show through the painting as modeling. Monet’s bold, slashing brush strokes are an important part of this painting. In places the paint is layered quite thickly, a technique called impasto. (175) The thick, loaded brushwork that oil paint made possible adds a new expressive element to this painting. The reflection in the water, and the colors of the sky may come to mind, but this painting does not limit us to any one of them. Our eyes are glued to the energetic brushwork in the background that portrays anything but itself.
In conclusion, both pieces are oil on canvas and have a very distinctive look with one having focus on the smooth glaze look and the other with the thick brushstrokes.
The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas. For about five hundred years the word “painting” was virtually synonymous with “oil painting”. (173) Oil paint is a sensuous medium, it has a distinctive feel and a distinctive smell and working with it can be a pleasure as shown by this magnificent piece. (176) The composition in this painting was worked out well in advance down to the very last detail, and built up methodically, layer after layer. (175) He used a classic procedure to complete the entire painting called grisaille. Also colored glazes are floated over the entire image, and the light and dark colors show through the painting as modeling. Monet’s bold, slashing brush strokes are an important part of this painting. In places the paint is layered quite thickly, a technique called impasto. (175) The thick, loaded brushwork that oil paint made possible adds a new expressive element to this painting. The reflection in the water, and the colors of the sky may come to mind, but this painting does not limit us to any one of them. Our eyes are glued to the energetic brushwork in the background that portrays anything but itself.
In conclusion, both pieces are oil on canvas and have a very distinctive look with one having focus on the smooth glaze look and the other with the thick brushstrokes.
Wednesday, October 17, 2007
Activity #9 Camera Essay
During the 19th century the camera took visual art to a whole new level. There was a new visual outlook after the emergence of the camera. Artist started making their paintings look more photographic. Before the camera the main purpose of Art was to record. The camera was able to take pictures of moving images and capture light. As a result, Artist began to use more of the design elements to be expressive. Cropping and color were becoming to be more visible in paintings. Cropping off the heads of individuals by bringing their images closer to the front of the painting was done to give this type of effect. Also, the use of many different colors to make paintings stand out and shift the focus on the vibrant colors was becoming the norm. But, the camera was able to take still shots and full figured pictures.
During the war cameras were used to take pictures and show what was happening right then as opposed to waiting for Artists to paint a portrait after the event occurred. The camera relies on a natural phenomenon known as antiquity: that light reflected from an object can, under controlled circumstances, project an image of that object onto a surface. (209) This among many other reasons is why the camera became very instrumental in the art world and a new way of painting pictures had arrived. The visual outlook will never be the same after the camera, because it created a new way for artists to express themselves.
During the war cameras were used to take pictures and show what was happening right then as opposed to waiting for Artists to paint a portrait after the event occurred. The camera relies on a natural phenomenon known as antiquity: that light reflected from an object can, under controlled circumstances, project an image of that object onto a surface. (209) This among many other reasons is why the camera became very instrumental in the art world and a new way of painting pictures had arrived. The visual outlook will never be the same after the camera, because it created a new way for artists to express themselves.
Wednesday, October 10, 2007
Activity #7 Re-write Exhibition Intro-Politics and Social Order
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space. The second piece, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, uses horizontal lines to create rhythm in this painting. The third piece, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, notice the way Peale use light colors to put emphasis on Washington’s face. The spectral colors and their corresponding gray-scale are used throughout this painting.
The fourth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. You can’t help but focus on the sky filled with primary colors red, yellow and blue like that of the color wheel. The fifth piece, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas, the weight of this painting is to the right giving this painting a asymmetrical balance. If you were to draw a line down the center of the painting you will definitely agree that this is true. Stuart highlights this piece with bright colors, which brings your eyes from the cufflinks to the neck and shoulder area.
In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size. Homer also incorporates vertical lines to show emphasis throughout this painting. The detail in this piece makes it look real.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catalogue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “The Epiphany”, 1320, by Giotto di Bondone, tempera on wood, gold ground, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, by Giovanni di Bartolommeo Cristiani, tempera on wood, gold ground, “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “Madonna and Child Enthroned with Saints, altarpiece”, 1504, by Raphael, oil and gold on wood, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “The Epiphany”, 1320, tempera on wood, gold ground, Giotto shows the clearly organized space, arranged like a stepped stage with the stable view from below, and the simplified shapes of the figures expresses the innovative naturalism. The second piece, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, tempera on wood, gold ground, Giovanni is full of design and expresses a social hierarchy. The use of primary colors is displayed throughout the painting. The third piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space.
The fourth painting “The Madonna and Child Enthroned with Saints”, 1504, oil and gold on wood, Raphael’s treatment of the Saints Peter and Paul, whose apparent volume fills the space at the sides of the main panel and the placement of the figures of the God the Father and two angels, who symmetrically fill the curved shape of the altarpieces lunette above the main panel is very remarkable. The bright red robe worn by one of the Saints is the same shade as the little girls dress and Madonna’s shirt. Looking in the background Raphael uses shape and mass with identifiable boundaries. We can see mountains and hills and something that resembles a temple.
The fifth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. The sky is filled with warm colors like that of the color wheel. In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catologue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
There are six pieces of Art that can be viewed in this exhibition, which include: “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space. The second piece, “The Capture of Carthage”, 1725-29, by Giovanni Battista Tiepolo, oil on canvas, uses horizontal lines to create rhythm in this painting. The third piece, “George Washington”, ca 1779-81, by Charles Willson Peale, oil on canvas, notice the way Peale use light colors to put emphasis on Washington’s face. The spectral colors and their corresponding gray-scale are used throughout this painting.
The fourth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. You can’t help but focus on the sky filled with primary colors red, yellow and blue like that of the color wheel. The fifth piece, “Horatio Gates”, ca 1793-94, by Gilbert Stuart, oil on canvas, the weight of this painting is to the right giving this painting a asymmetrical balance. If you were to draw a line down the center of the painting you will definitely agree that this is true. Stuart highlights this piece with bright colors, which brings your eyes from the cufflinks to the neck and shoulder area.
In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size. Homer also incorporates vertical lines to show emphasis throughout this painting. The detail in this piece makes it look real.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catalogue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
This exhibition is based on the theme Politics and Social Order. The images are set up chronologically, because it places works of art in the context of the cultures from which they emerged and allows you to follow the development of art over a period of time.
There are six pieces of Art that can be viewed in this exhibition, which include: “The Epiphany”, 1320, by Giotto di Bondone, tempera on wood, gold ground, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, by Giovanni di Bartolommeo Cristiani, tempera on wood, gold ground, “Elegant Gathering in the Apricot Garden”, 1437, by Xie Huan, handscroll; ink and color on silk, “Madonna and Child Enthroned with Saints, altarpiece”, 1504, by Raphael, oil and gold on wood, “The Sortie Made by the Garrison of Gibraltar”, 1789, by John Trumbull, oil on canvas, and “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas.
The first piece, “The Epiphany”, 1320, tempera on wood, gold ground, Giotto shows the clearly organized space, arranged like a stepped stage with the stable view from below, and the simplified shapes of the figures expresses the innovative naturalism. The second piece, “Saint Lucy and Her Mother at the Shrine of Saint Agatha”, 1367-98, tempera on wood, gold ground, Giovanni is full of design and expresses a social hierarchy. The use of primary colors is displayed throughout the painting. The third piece, “Elegant Gathering in the Apricot Garden, 1437, handscroll; ink and color on silk, documents a historical gathering of several scholar-officials. The visual texture of this painting is real which gives this piece definition. Xie Huan uses pattern to create visual texture, which tends to flatten the perception of mass and space.
The fourth painting “The Madonna and Child Enthroned with Saints”, 1504, oil and gold on wood, Raphael’s treatment of the Saints Peter and Paul, whose apparent volume fills the space at the sides of the main panel and the placement of the figures of the God the Father and two angels, who symmetrically fill the curved shape of the altarpieces lunette above the main panel is very remarkable. The bright red robe worn by one of the Saints is the same shade as the little girls dress and Madonna’s shirt. Looking in the background Raphael uses shape and mass with identifiable boundaries. We can see mountains and hills and something that resembles a temple.
The fifth piece, “The Sortie Made by the Garrison of Gibraltar, 1789, oil on canvas, by John Trumbull, shows us the usage of implied lines, for instance the captain and several of his men pointing there arms in distinctive directions. The sky is filled with warm colors like that of the color wheel. In our final piece of the exhibition, “Prisoners from the Front”, 1866, by Winslow Homer, oil on canvas. This piece has a distinctive palette of bright acidic colors contrasting with deep shadows. Homer has taken some of the colors in this painting and mixed them together to create the illusion of a large size.
In conclusion, all of these paintings displayed a sense of Politics and Social order, which is why I chose them.
The exhibition is made possible by Emory Hill.
The catologue is made possible by Emory Hill, along with the Metropolitan Museum of Art.
Tuesday, October 9, 2007
Re-do ART 101 Mid-Term Exhibition
Elegant Gathering in the Apricot Garden, 1437, After Xie Huan, Handscroll; ink and color on silk. Metropolitan Museum of Art.
The Capture of Carthage, 1725–29, by Giovanni Battista Tiepolo, oil on canvas. Metropolitan Museum of Art
George Washington, ca. 1779–81, by Charles Willson Peale, Oil on canvas. Metropolitan Museum of Art.
The Sortie made by the Garrison of Gibraltar, 1789, John Trumbull, oil on canvas. Metropolitan Museum of Art.
Horatio Gates, ca. 1793–94, by Gilbert Stuart, Oil on canvas. Metropolitan Museum of Art.
Prisoners from the Front, 1866, Winslow Homer, oil on canvas. Metropolitan Museum of Art.
The Epiphany, possibly ca. 1320, Giotto di Bondone
Tempera on wood, gold ground. Metropolitan Museum of Art.
Saint Lucy and Her Mother at the Shrine of Saint Agatha, 1367-98, Giovanni di Bartolommeo, Tempera on wood, gold ground. Metropolitan Museum of Art.
Elegant Gathering in the Apricot Garden, 1437, After Xie Huan, Handscroll; ink and color on silk. Metropolitan Museum of Art.
Madonna and Child Enthroned with Saints, altarpiece, ca. 1504, Raphael Sanzio, oil and gold on wood. Metropolitan Museum of Art.
The Sortie Made by the Garrison of Gibraltar, 1789, John Trumbull, oil on canvas. Metropolitan Museum of Art.
Prisoners from the Front, 1866, Winslow Homer, oil on canvas. Metropolitan Museum of Art.
Wednesday, October 3, 2007
Activity #5
"The Corinthian Maid, 1782-1784," by Joseph Wright, oil on canvas
"The Houses of Parliament, Sunset, 1903," by Claude Monet, oil on canvas
The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas gives you a more Human experience theme, while The Houses of Parliament, Sunset, 1903 by Claude Monet; also oil on canvas has an Art an Art theme.
In the painting The Corinthian Maid, the young girl traced her sleeping lover’s silhouette onto the wall casting a shadow by producing an afterimage (99). That image moves our eyes to the clothing worn on both the boy and girl, which are of primary colors with monochromatic harmonies (97). Wright then brings our attention to the dog lying comfortable alongside his master as if he knew that there was going to be a long journey ahead. The dog color is somewhat of a mixture of black and white (gray), opposite of the hue on the color wheel (96). This painting is also executed thinly, smoothly, and precisely, with drier, thicker highlights. Monet on the other hand has taken a more Art an Art theme. The beautiful London city with its fog and fiery sky has a calm soothing feel. Those cool colors, because of their association with the sky, water, shade, and so on make the painting a work of art (95). Looking into the water we can see a figure that looks like a man rowing a boat, but the shadows on the waves doesn’t allow us to focus on that, rather we see the sky and the formation of buildings. This backlit effect is very captivating and we can explore varieties of delight, the natural, instinctive pleasure in the everyday experience of looking (79).
Monday, October 1, 2007
Color game
Color me Bad color game
How to Play this connect the colors game
1. First you make a circle with the following colors, red, orange, yellow, blue, green and violet.
2. Then with your marker you must connect the colors together based on a question from the color master.
3. The person who gets the most correct answers win.
Begin Play
1. The color master directs you to move your marker and connect green with yellow. What colors do you get?
2. The color master directs you to move your marker and connect red, yellow and blue. What colors do you get?
3. The color master directs you to move your marker and connect orange, green and violet. What colors do you get?
4. The color master directs you to move your marker and connect blue-green. What colors do you get?
5. The color master directs you to move your marker and connect red-orange. What colors do you get?
GAME OVER, check answers below:
1. tertiary colors
2. primary colors
3. secondary colors
4. cool colors
5. warm colors
How to Play this connect the colors game
1. First you make a circle with the following colors, red, orange, yellow, blue, green and violet.
2. Then with your marker you must connect the colors together based on a question from the color master.
3. The person who gets the most correct answers win.
Begin Play
1. The color master directs you to move your marker and connect green with yellow. What colors do you get?
2. The color master directs you to move your marker and connect red, yellow and blue. What colors do you get?
3. The color master directs you to move your marker and connect orange, green and violet. What colors do you get?
4. The color master directs you to move your marker and connect blue-green. What colors do you get?
5. The color master directs you to move your marker and connect red-orange. What colors do you get?
GAME OVER, check answers below:
1. tertiary colors
2. primary colors
3. secondary colors
4. cool colors
5. warm colors
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