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Major Types of Space
• 2D– The picture plane is the flat surface of a two-
dimensional work. The space or depth is implied - artists use many devices to give the illusion of depth:
– Decorative Space• Stressing the 2D nature of an artwork or any of its elements
– Plastic Space The use of the elements to create the illusion of 3D on a 2D surface
• Perspective
• Three Dimensional Space (actual space)
Maharana Amar Singh II, Prince Sangram Singh…c. 1705-08.
Implied Space
Two dimensional space has only height and width. There exists the picture plane and the illusion of the negative (ground) and positive (figure) space.
Types of Depth
– Position-Placing an object higher on the page makes it appear farther back then objects placed lower on the page.
– Overlapping-When an object overlaps another object it appears closer to the viewer, and the object behind the object appears farther away.
– Size Variation-Smaller objects look farther away in the distance. Larger objects look closer.
More Spatial Indicators• Color-Bright colors look like they are closer to you and neutral
colors look like they are farther away.
• Value-Lighter values look like they are farther back and darker value look like they are closer.
• Sharp or Diminishing Detail• Transparency• Interpenetration• Warm and cool color contrasts• Converging Parallels (Perspective)
– Linear Perspective or Isometric Perspective– Atmospheric Perspective
Rachel Whiteread
Negative space
Rachel Whiteread
Rachel Whiteread, Ghost, 1990
Degrees of implied depth
Shallow Space
• The illusion of limited depth. With shallow space, the imagery appears to move only a slight distance back from the picture plane
Maharana Amar Singh II, Prince Sangram Singh…c. 1705-08.
Chris Johanson
Henry Darger
Chris Ware from “Quimby the Mouse”
KARA WALKER
Atmospheric Perspective
• The illusion of deep space produced in 2D works by lightening values, softening details and textures, reducing value contrasts, and neutralizing colors in objects as they recede
HUANG GONGWANG, Dwelling in the Fuchun Mountains, Yuan dynasty, 1347-1350. Section of a handscroll, ink on paper, 1' 7/8" x 20' 9". National Palace Museum, Taibei.
LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood, approx. 2’ 6” x 1’ 9”. Louvre, Paris.
Friedrich, Caspar David, 1774-1840“Easter Morning”
Date1830-5Oil on canvas17 1/4x13 5/8"
JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”.
"A Storm in the Rocky Mountains, Mt. Rosalie" - by Albert Bierstadt, 1866
Deep and Infinite Space
• Pictorial space in which the picture frame acts as a window which objects can be seen receding endlessly
Giuseppe Pellizza da Volpedo
(Volpedo 1868 - 1907)
“Il sole” (The Sun), 1904
Oil on Canvas,
150x150 cm
James McNeill Whistler, Nocturne: Blue and Silver—Battersea Reach, 1872–78, Oil on canvas
MARK ROTHKO, No. 14, 1961 Oil on canvas, 9’ 6” x 8’ 9”.
Kasimir Malevich, Suprematist Composition: White on White, 1918
“The free white abyss, infinity are before us all”
Robert Ryman, Surface Veil I, 1970. Oil and blue chalk
on linen, 143 15/16 x 144 inches
“White is tamed light: the dynamic of our contemplation.”
-Murilo Mendes
Perspective
• Any graphic system used in creating the illusion of 3D images and/or spatial relationships on a 2D surface.
• Atmospheric, Linear, and Infinite
• Vanishing Point = the point in a perspective drawing to which parallel lines appear to converge
Vanishing Point, 1971
One Point
Two Point
Three Point
Edward Burtynsky
Manufacturing #18,Cankun Factory, Zhangzhou, Fujian Province, 2005
Practice Perspective:
Vanishing Points
Draw a vertical line anywhere – perpendicular to the horizon
William Kentridge
Draw a vertical line anywhere – perpendicular to the horizon
Michael Boremans
CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence.
Perspective prior to the Renaissance
Duccio, Christ Entering Jerusalem, detail of Maesta Alter, 1308-11, Tempra on Panel, 40x21”
Perspective prior to the Renaissance
MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428. Fresco, 21’ x 10’ 5”.
DIRK BOUTS, Last Supper (central panel of the Altarpiece of the Holy Sacrament), Saint
Peter’s, Louvain, Belgium, 1464–1468. Oil on wood,
approx. 6’ x 5’.
PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine
Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.
Pere Borrell del CasoEscaping Criticism, 1874
Isometric Projection
• A technical drawing system in which a 3D object is presented two-dimensionally; starting with the nearest vertical edge, the horizontal edges of the object are drawn at a 30 degree angle and all verticals are projected perpendicularly from a horizontal base
Selim II receiving the Safavid ambassador in the palace at Edirne in 1567.Nehzetu'l-Ahbar der Sefer-i SigetvarNakkas Osman 1568.Hazine. 1339, folio 247b
From the Procession of the Guilds: the Procession of Makers of Bath-towels, Sur-nama ('Book of Festivities')., Istanbul, 1582. Hazine 1344, folios 338b-39a
During the 20th century, _______ and _______ were added to the visual elements used by artists.
A) rough and soft
B) time and motion
C) outline and contour
D) color and value
E) shape and mass
Art that physically moves, as Alexander Calder's mobiles do, are called ______ art. – A) kinetic – B) time-and-space – C) sequential – D) value – E) perspective
Tim Hawkinson
Claude Monet, Haystacks 1890-1891
GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-Knox Art Gallery, Buffalo, New York
Giacomo Balla, Swifts Paths of Movement – Dynamic Sequences
Umberto Boccioni. States of Mind: The Farewells. 1911. Oil on canvas. 70. x 96cm.
MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, approx. 4’
10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia
EADWEARD MUYBRIDGE, Nude Descending Stairs, 1884
UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 3’ 7
7/8” high x 2’ 10 7/8” x 1’ 3 3/4”. Museum of Modern Art, New
York
Nam June Paik, Zen for TV
1963, 1976 versionmanipulated vintage television and components 19 x 22 1/2 x 18 in. (48.3 x 57.2 x 45.7 cm) Smithsonian American Art Museum
Jeremy Blake
• Texture: surface quality (Actual or Visual, implied)• Impasto• Pattern (regular repetition)
• Space: 2 & 3-dimensional (height, width &/or depth)(Actual or Implied)
• Positive/negative; figure/ground• Overlapping; foreground/background• Position • Linear & isometric perspective• Atmospheric perspective & chiaroscuro• Foreshortening
• Time & motion: elapsed, implied, Kinetic
Chapter Four-B
Design Elements