The relevant slides are on pages 16 to 19. Though I don't explicitly state it, most of the key changes Michelangelo made to his fresco were to its neighboring regional contrast. This is defined here:
As you might guess, neighboring regional contrast acts upon neighboring regions. Artists manipulate this property to produce tone wrap, which heightens the impression of form. Tone wrap is also defined in the preceding link.
Additionally, all Michelangelo's glazes were also removed. These would have had a significant impact on the global unity of his composition. I can barely look at photos of the Cistine Chapel taken after the restoration.
Here you go:
https://www.dropbox.com/scl/fi/wseunftjggoiqekn43hr1/paintin...
The relevant slides are on pages 16 to 19. Though I don't explicitly state it, most of the key changes Michelangelo made to his fresco were to its neighboring regional contrast. This is defined here:
https://rmit.instructure.com/courses/87565/pages/structural-...
As you might guess, neighboring regional contrast acts upon neighboring regions. Artists manipulate this property to produce tone wrap, which heightens the impression of form. Tone wrap is also defined in the preceding link.
Additionally, all Michelangelo's glazes were also removed. These would have had a significant impact on the global unity of his composition. I can barely look at photos of the Cistine Chapel taken after the restoration.