Design Basics - 7e - c 10.pdf - po ang - Januszek66

By permission of Sidney Harris, ScienceCartoonsPlus.com.

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CHAPTER

ILLUSION OF SPACE

INTRODUCTION

Translating Space to Two Dimensions 194

DEVICES TO SHOW DEPTH

Two-Point Perspective 210

DEVICES TO SHOW DEPTH

Size 196

DEVICES TO SHOW DEPTH

Multipoint Perspective 212

DEVICES TO SHOW DEPTH

Exaggerated Size 198

AMPLIFIED PERSPECTIVE

A Different Point of View 214

DEVICES TO SHOW DEPTH

Overlapping 200

MULTIPLE PERSPECTIVE

A Pictorial Device 216

DEVICES TO SHOW DEPTH

Vertical Location 202

ISOMETRIC PROJECTION

A Spatial Illusion 218

DEVICES TO SHOW DEPTH

Aerial Perspective 204

OPEN FORM/CLOSED FORM

The Concept of Enclosure 220

DEVICES TO SHOW DEPTH

Linear Perspective 206

TRANSPARENCY

Equivocal Space 222

DEVICES TO SHOW DEPTH

One-Point Perspective 208

CONCLUSION

Complexity and Subtlety 224

193

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INTRODUCTION

TRANSLATING SPACE

TO TWO DIMENSIONS

various angles. Architecture, of course, is an art form mainly

preoccupied with the enclosure of three-dimensional space.

A photograph of architecture such as that of the interior court

of BCE Place in Toronto (A) can only hint at the spectacular

feeling of space and volume we experience when actually in

the area. The many arches form a concave shell when seen from

the interior, yet our feeling of the space is that of a convex

volume pushing upward.

In two-dimensional art forms, such as drawings, paint-

ings, and prints, the artist often wants to convey a feeling

of space or depth. Here space is an illusion, for the images

rendered on paper, canvas, or boards are essentially ﬂ at.

Several art forms are three-dimensional and therefore

occupy space: ceramics, jewelry and metalwork, weaving,

and sculpture, to name a few. In traditional sculpture or in

a purely abstract pattern of forms, it is important for us to

move about and enjoy the changing spatial patterns from

Exploring Options

This illusion of space is an option for the artist. The photograph

in B emphasizes the rhythm of trees on a hillside and is most

interesting as a ﬂ at pattern. A different photograph by the

same photographer taken the same day in the same region

emphasizes the space of the Western landscape (C) . Gros

Ventre #3 (C) creates a sense of this space with many spatial

clues: overlap, diminishing size, and effects of atmosphere.

The Galleria, BCE Place, Toronto.

Michel Taupin. Rhythm Study. 2006.

Digital photograph.

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CHAPTER 10 ILLUSION OF SPACE | 195

The photograph in B and the painting in D have a

surprising commonality: a vertical line at the center which

taken alone would tend to ﬂ atten the space. In B this line

is suggested by the continuation of a few light tree trunks.

In D a lamppost divides the painting into two rectangular

areas. Nevertheless, Gustave Caillebotte’s painting in D

pierces the picture plane . We are encouraged to forget

that a painting is merely a ﬂ at piece of canvas. Instead, we

are almost standing with the ﬁ gures in the painting, and

our eyes are led to the distant buildings across the plaza

and down the streets that radiate from the intersection.

Caillebotte’s images suggest three-dimensional forms in a

real space. The picture plane no longer exists as a plane , but

becomes a window into a simulated three-dimensional world

created by the artist. A very convincing illusion is created.

Artists throughout the centuries have studied this problem

of presenting a visual illusion of space and depth. By the

nineteenth century a variety of devices were known and

used. With the advent of photography these devices became

less important to many painters.

Michel Taupin. Gros Ventre #3.

2006. Digital photograph.

Gustave Caillebotte. Rue de Paris;

Temps de Pluie (Paris Street, Rainy Day).

1877. Oil on canvas, 6’ 11 1 / 2 ”

9’ 3 / 4 ”

(212.2

276.2 cm). The Art Institute

of Chicago (Charles H. and Mary F. S.

Worcester Fund Collection, 1964.336).

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DEVICES TO SHOW DEPTH

SIZE

Spatial Effect with Abstract Shapes

Notice that the size factor can be effective even with

abstract shapes, when the forms have no literal meaning

or representational quality (B) . The smaller squares

automatically begin to recede, and we see a spatial pattern.

With abstract ﬁ gures, the spatial effect is more pronounced

if (as in B ) the same shape is repeated in various sizes. The

device is less effective when different shapes are used (C) .

The repetition of ﬁ gures and rocks in A is consistent with

the example shown in B .

In D we see an example that purposefully rejects change

in size. The two squares are different colors and in different

positions but offer no real spatial contrast. Later in the series

(E) these two “actors” take on contrasting roles and the red

square (now larger than the black) advances in the space.

The easiest way to create an illusion of space or distance

is through size. Very early in life we observe the visual

phenomenon that as objects get farther away they appear to

become smaller. Complex naturalistic artworks will employ

many spatial clues, but it is possible to ﬁ nd artworks that

choose a more limited vocabulary effectively. Abraham

Walkowitz’s painting (A) relies primarily on contrast of

size. In this case the elements of the landscape are painted

as ﬂ atter shapes; however, the foreground ﬁ gures are larger

than those in the middle and far distance. Size difference

conforms with our understanding of how we perceive space,

yet the artist is able to emphasize the shapes of rocks and

ﬁ gures and even glimpses of the ocean by playing down

other effects of space.

Relative Size and Linear Perspective

Module

Abraham Walkowitz. Bathers on the Rocks. 1935. Oil on canvas, 2’ 1”

2’ 6 1 / 8 ”.

Tampa Museum of Art Collection, Museum Purchase (1984.15).

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