The artist created the illusion of space by overlapping images in the painting such as the palm trees in front of the mountains. The use of light gives clarity, and contrast to the painting. The Nativity Set Backdrop has extensive use of light which creates an atmospheric or aerial
The formal elements depicted in this piece are color and space. The color harmony found within the piece is complementary by looking at the artist’s choice of colors which were blue and red. These two colors give the piece a nice contrast. The space found in the piece is apparent by looking at the painting.
Melvin Williams Arth 1381 Professor Zalman 13 November 2014 Visual Analysis The painting, The Basket Chair c.1885 by Berth Morisot, and the painting The Orange Trees c. 1878 by Gustave Caillebotte, are both magnificent and interesting pieces that I got the opportunity to see. The paintings are both wonderful pieces and their composition overall is very impressive. Both paintings have different aspects in the way the artist displayed modernism, formal characteristics, class and gender, and the subject matter of the painting itself.
The forms of the buildings were inspired by abstract art and sculptures. These designs not only make the building highly energy efficient but also have an interesting look. It also has open floor plans in L, H, T, or U shape to embrace outdoor
William Ernest Reynolds-Stephens balances the painting with the positions of the people in the painting. The are all closely connected and that brings them all together cohesively. This painting shows asymmetrical balance achieved by the lack of symmetry but the entire image holds the same visual weight. For example, the cheetah skin at the bottom left of the image helps to even out the image. When I imagine the picture without the cheetah skin I can see how it would be a little less visually pleasing to look
Lighting is used to show when things are dark and mysterious, or bright and joyful, Burton uses lots of dark lighting but throws in scenes with brighter lights as well. In Edward Scissorhands the mansion where Edward was created is dark with very little sunlight coming in through the few windows. They way the lighting is used makes the place feel creepy and lonely, unlike the town not so far way which is very bright and colorful with pinks, greens, oranges, and blues. The town is happier looking with lots of sun, making the dark mansion stick out. Also in Charlie and the Chocolate Factory, Burton made Charlie’s home like Edwards mansion, dark.
Used with a LED panel, it gives you the fill-in light, if needed, from the opposite side, hence the reason why I suggest that one LED light is enough. Used over a window, the diffuser softens the light from the Sun. My choice of a 50cm size is simple: it is easy to handle and is enough to soften the light coming through a window, for most portraiture work, while also being a manageable size for tabletop. My idea of “less gear more fun” applies here. I know there are some reflectors/diffusers with multiple surfaces, but I want to keep it simple
For example, panel 60 has many people standing, and the overlapping of the colors signify the illusion and depth. Various elements are balanced by shape, size, or placement to establish a graphical equilibrium. Throughout his 60 panels, there is a repetition of visual elements, shapes, and unusual lining. Lawrence’s usage of lining provides a distinct shape when outlining the people, but the remainder of the lines are primarily straight – like panel 46 when drawing the steps. The flattened, sharp forms, tough diagonals, and contrasts of light and shadow present the vitality of the
The overall placement of In the Studio, is taken somewhere between his studio while The Tenth Street Studio seems to be placed near the corner. The placement of these two paintings along with the color scheme lends a different feel to them. In In the Studio I felt a sense of openness given how he has placed the subject on a bench instead of a chair and where she is placed within the space and by placing one rug under the subject helps lend to that feeling. When I compare that to The Tenth Street Studio, I get a subdued feeling thanks impart to the dark colors and the large black space at the right of it. I think The Tenth Street Studio and In the Studio show his progress with his technique and how his studio can be used to display
However it now became acceptable to let these buttresses be seen without having to cover them under the roof as previously done. A flying buttress works by moving a force from vaulted ceilings and wind that push against the outer wall across the “flyer” and then down the buttress to the ground. Similarly flying buttresses allowed rainwater to be drained from the
Wanda Koop’s Sleeping Giant (2014) is a gray scaled ink and acrylic canvas painting. The contrasted head seems asleep; the eyes, nose and lip shapes are represented by laid down figures, painted in such way the figures appear floating on water rather than sleeping, and all together creating a depressing, cool and somber. The Sleeping Giant painting is made by Wanda Koop is a Canadian artist, who often represents nature scenes in her artwork. This particular art piece was made in 2014 and it is often exhibited with similar themed paintings of Koop’s. This painting is a grey toned canvas painting with a head like shape which appears to be asleep.
In Frank Romero's mural "Going to the Olympics,1984" what you see is various of colorful cars on the freeway or road and on top of the car there are hearts on each one. The possible meaning of it is because everyone does love their cars. Also in the image there is a blimp that says "A Good Year" mostly because it was related to the olympics or a form of advertisment. You also see some wrestlers, and a iron. The wrestlers I would say that represent the olympics and the iron is a flying iron back then was used as a spaceship in the movies as i was told.
The Woven is a painting created by Lisa Labarge. This contains the medium charcoal and soft pastel on paper, 40x 27 inches. The painting is located in studio Gallery 234, Pennsylvania, York. According to Labarge, the Woven is a painting that crosses the boundaries of classical and non-classical. Moreover, she specified that the Woven can be made with marble in a classical style.