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← Everyday Spanish - Learning Spanish through art (2/8)

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Showing Revision 1 created 10/13/2012 by smiriam.

  1. In the meantime Cristina has found a perfect place for the mural. But before the artists start to work, the builders have to prepare the wall. This is a process that takes a long time.
  2. "The technique is a very old technique. It is an Etruscan technique that can be done just as if you were doing a "fresco". You cover the blocks with different cement layers. First, sand and black pigment. Then blue, green, red, yellow and the last one is white. This allows you to later achieve different depths in the different colors."

  3. Around the corner is the Pearl Cafe, a meeting place for neighbors of the Boca neighborhood. Here is where Cristina and the members of the team have met to solve some last minute details.
  4. OK, the wall is drying up. Here is everything. See? OK. Here is the more noticeable part, here is the more romantic part, and here the part that deals with current events. But there are differences we have to notice. This is not like that.
  5. Let's see. The white part has to be a bit 'calmer'. This will be white, but this has to be white and yellow. This will have volume. And this is a part that has to be sadder. You see the colors that do that.
  6. We agreed on the themes we wanted to touch upon. it was imperative to work on the tango, the concertina, and also to reflect the social situation. Each one drew and then we mixed the drawings.
  7. What worries me is the simplicity of these shapes and the complexity of these others. How can you balance that?
  8. This, as a form representation is very powerful, here is the bridge and the hook. These shapes can be tuned down by using lighter colors and less texture. Then we have to see how to unify all this part. Do you agree?
  9. Yes, that sounds perfect to me. What do you think. Is that OK?
  10. The responsibilities of each one have to do with who they are. Ruth for example is very organized. She is the perfect executive secretary. Edgar is more impulsive, more creative when time comes to decide. Ricardo has a very strong way of working. I think that for the students I brought this has been a great experience.
  11. Yes, I would like this to be less light.
  12. How about deciding once it's on the wall?
  13. OK, we'll see as we go.
  14. OK, it's more or less clear. Let's go take a look at the wall. Let's go before the wall dries up.
  15. Bye. Bye.
  16. The first thing we need to do is to place the images on the wall.
  17. You copy the images onto the wall and then everyone scrapes!
  18. Here we have to work differently. We leave some reds but some more intense blues here.
  19. Right now I'm looking for the blue layer, under three color layers: white, yellow and red, to make the sky.
  20. You may need to work on some middle sections like this and make the sides redder, uh?
  21. OK, now we're going to do the casket. The main problem with this technique is time. We have total pressure due to time and climate. That is because if it's too dry, the wall dries too fast and that's tough. So we have to take advantage of good weather. If we have a lot of people to do this collectively, that helps. Actually in one work day we have to get two done. What I want to do now is to control a bit how the color reduction is done. In some areas I have to look from across the street to see how I can accelerate the process.
  22. Are we all here? Let's see what happens afterwards with the bottom part. We have to have... In general I like to work in a group.
  23. To create collectively, so the mural is not one individual's work but rather a collective creation. That is not easy to do with artists.
  24. But in general we sit together and make many decisions together. For that reticulated wall let's use yellow. All of it is yellow.