Design PrinciplesDesign PrinciplesChapter 10 – Illusion of SpaceChapter 10 – Illusion of Space

Translating Space to Two DimensionsTranslating Space to Two Dimensions

3-Dimensional art allows us to 3-Dimensional art allows us to walk around all occupied walk around all occupied space. Examples:space. Examples:

Ceramics and JewelryCeramics and Jewelry Metalwork and WeavingMetalwork and Weaving Architecture and SculptureArchitecture and Sculpture

2-Dimensional art such as 2-Dimensional art such as drawings, paintings and prints, drawings, paintings and prints, which are flat, may strive to which are flat, may strive to create the create the illusionillusion of space or of space or depth.depth.

This 2-Dimensional surface is This 2-Dimensional surface is called the called the Picture Plane.Picture Plane.

Gustave Caillebotte. Rue de Paris; Temps de Pluie (Paris Street, Rainy Day). 1877. Oil on canvas, 6' 11 1/2" x 9' 3/4" (212.2 x 276.2 cm). The Art Institute of Chicago (Charles H. and Mary F. S. Worcester Fund

Collection, 1964.336).

Ways to Show DepthWays to Show Depth

1.1. SizeSize2.2. OverlappingOverlapping3.3. Vertical LocationVertical Location4.4. Aerial PerspectiveAerial Perspective5.5. Plan and ElevationPlan and Elevation6.6. Linear PerspectiveLinear Perspective7.7. One-Point PerspectiveOne-Point Perspective8.8. Two Point PerspectiveTwo Point Perspective9.9. Multipoint PerspectiveMultipoint Perspective10.10. Amplified PerspectiveAmplified Perspective11.11. Multiple PerspectiveMultiple Perspective12.12. Isometric PerspectiveIsometric Perspective13.13. Open Form/Closed FormOpen Form/Closed Form14.14. TransparencyTransparency

Michel Taupin. Gros Ventre #3. 2006. Digital photograph.

1. Size1. Size

1. Size1. Size

Size Size – Objects that are close to – Objects that are close to us are larger. As they recede us are larger. As they recede in space, they get smaller.in space, they get smaller.

Size is the easiest to use.Size is the easiest to use. Works best with similar Works best with similar

objects. (Line of Trees, etc…)objects. (Line of Trees, etc…)

How to use:How to use: Repeat objects over and over Repeat objects over and over

while deceasing the size. while deceasing the size. Might use a vanishing point.Might use a vanishing point.

Abraham Walkowitz. Bathers on the Rocks. 1935. Oil on canvas, 2’ 1” x 2’ 6 /8”. Tampa Museum of Art

Collection, Museum Purchase (1984.15).

Spatial Effect with Abstract Spatial Effect with Abstract ShapesShapes

Size factor repetition Size factor repetition also works with also works with abstract shapes. abstract shapes.

Similar shapes Similar shapes repeated works best.repeated works best.

A variety of different A variety of different shapes will be less shapes will be less successful. successful.

El Lissitzky. Of Two Squares: A Suprematist Tale in Six Constructions. 1922. Illustrated book with letterpress cover

and six letter-press illustrations, 1015/16" x 8 7/8" (27.8 x 22.5 cm). Publisher: Skify, Berlin. Gift of the Judith

Rothschild Foundation (89.2001.5).

““Using relative sizes to give a Using relative sizes to give a feeling of space and depth is feeling of space and depth is very common to many very common to many periods and styles of art.” periods and styles of art.”

How is it done?How is it done?1.1. Take an object with a familiar Take an object with a familiar

size.size.2.2. Place it in the foreground as Place it in the foreground as

a very large object and /or a very large object and /or have it escape the edges of have it escape the edges of the picture plane. the picture plane.

3.3. Place other familiarly sized Place other familiarly sized objects in the “background” objects in the “background” and make them very small. and make them very small.

This creates distance and a This creates distance and a dynamic visual pattern.dynamic visual pattern.

Exaggerated SizeExaggerated Size

Charles Henry Demuth. Circus. 1917. Watercolor and pencil on paper, 8 1/16" x 1' 1" (20.5 x 33 cm).

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, gift of Joseph H. Hirshhorn

Foundation, 1966.

2. Overlapping2. Overlapping

Simple device for creating Simple device for creating the illusion of depth. the illusion of depth.

Each shape hides part of Each shape hides part of another, except the top another, except the top shape.shape.

The illusion of depth is The illusion of depth is increased when you use increased when you use overlap in combination overlap in combination with change in size. with change in size.

This works with abstract This works with abstract shapes also. shapes also.

Edith Hayllar. A Summer Shower. 1883. Oil on panel, 1' 9" x 1' 5 2/5" (53.4 x 44.2

cm). The Bridgeman Art Library.

3. Vertical Location3. Vertical Location This is a spatial device in which This is a spatial device in which

elevation on the page indicates elevation on the page indicates a recession into depth.a recession into depth.

Higher in the picture plane is Higher in the picture plane is further away from us.further away from us.

Objects lower in the picture Objects lower in the picture frame are considered closer. frame are considered closer.

Was used widely in Near Was used widely in Near Eastern and Asian art. Eastern and Asian art.

Miskina. The Disputing Physicians (or Philosophers). 1593-1595. From the Khamsa of Nizami, f.23v. Painting on paper, 30

x 19.5 cm. © British Library Board. All rights reserved. OR 12208.

Emphasizing Figures and Emphasizing Figures and Objects with Vertical Location Objects with Vertical Location

Tom Wesselmann. Still Life #12. 1962. Acrylic and collage of fabric, photogravure, metal, etc., on

fiberboard, 4" x 4" (1.22 x 1.22 m). Smithsonian American Art Museum, Washington, DC, Art © Tom

Wesselmann/Licensed by VAGA, New York, New York.

The use of vertical The use of vertical location can location can emphasize the figures, emphasize the figures, objects or architectural objects or architectural features in a work.features in a work.

The objects The objects themselves become themselves become more important then more important then depth or spatial depth or spatial relationships. relationships.

4. Aerial Perspective4. Aerial Perspective

Aerial (Atmospheric) Aerial (Atmospheric) Perspective—usePerspective—use of color or of color or value to show depth.value to show depth.

Color and/or value lessens and Color and/or value lessens and is less distinct as an object is less distinct as an object recedes.recedes.

How it looks:How it looks: Objects turn blue gray and fade.Objects turn blue gray and fade. Contours become less distinctContours become less distinct Edges are less clear, less Edges are less clear, less

contrast.contrast.

Ansel Adams. Yosemite Valley from Inspiration Point. c. 1936. Photograph. Copyright © 1993 by the Trustees of the Ansel Adams Publishing Rights Trust. All rights reserved.

Example: Aerial PerspectiveExample: Aerial Perspective

Here color changes and Here color changes and objects are less distinct objects are less distinct and show less contrast and show less contrast as they go back in as they go back in space.space.

The far hills take on the The far hills take on the bluish gray of the sky.bluish gray of the sky.

Rockwell Kent. Asgaard. 1950. Oil on canvas, 86 x 112 cm.

5. Plan, Elevation, Perspective5. Plan, Elevation, Perspective

The Three kinds of drawing The Three kinds of drawing used to communicate in used to communicate in Architecture.Architecture.

Plan, elevation and Plan, elevation and perspective drawings are perspective drawings are needed to tell the “whole needed to tell the “whole story”.story”.

Here is an example of Here is an example of plan and elevationplan and elevation

Frank Lloyd Wright. Arch Oboler Guest House (Eleanor’s Retreat), project, Malibu, California, plan and elevation. 1941.

Graphite and colored pencil on tracing paper, 2' 6 3/4" x 2' 1/8" (78.1 x 51.1 cm). Arthur Drexler Fund. © 2009 Frank

Lloyd Wright Foundation/Artists Rights Society (ARS), New York. 111.1992. The Museum of Modern Art, New York.

Example: Architectural Example: Architectural PerspectivePerspective

Allows us to visualize the Allows us to visualize the building from a unique building from a unique vantage point.vantage point.

Frank Lloyd Wright. Arch Oboler Guest House (Eleanor’s Retreat), project, Malibu, California,

perspective. 1941. Colored pencil, graphite, and color ink on tracing paper, 1' 415⁄16" x 1' 7 1/4" (43.1 x 48.9 cm). Arthur Drexler Fund. © 2009 Frank Lloyd Wright

Foundation/Artists Rights Society (ARS), New York. The Museum of Modern Art, New York.

6. Linear Perspective6. Linear Perspective

Linear PerspectiveLinear Perspective—As —As parallel lines recede, they parallel lines recede, they appear to converge and appear to converge and to meet on an imaginary to meet on an imaginary line called the horizon, or line called the horizon, or eye level.eye level.

Piero della Francesca. View of an Ideal City. Galleria Nazionale delle Marche, Urbino, Italy.

Vanishing PointVanishing Point— parallel — parallel lines on parallel planes all lines on parallel planes all converge at the same converge at the same place on the horizon line. place on the horizon line.

Example: Linear PerspectiveExample: Linear Perspective

Other cultures use Other cultures use perspective too, perspective too, thereby making it a thereby making it a universal designuniversal design

Kitagawa Utamaro. Moonlight Revelry at the Dozo Sagami. Edo Period, Japan. Ink and color on paper, 147.0 x 318.6 cm. Freer Gallery of Art, Smithsonian Institution, Washington, DC, (gift of

Charles Lang Freer, F1903.54).

7. One-Point Perspective7. One-Point Perspective

One-Point Perspective: All lines go to one point: the One-Point Perspective: All lines go to one point: the vanishing point on the horizon line. vanishing point on the horizon line.

This effect was rediscovered and developed during the This effect was rediscovered and developed during the Renaissance period. Renaissance period.

““A single point has been placed on the horizon line and all A single point has been placed on the horizon line and all the lines at right angles to the plane of the canvas the lines at right angles to the plane of the canvas converge towards that point.”converge towards that point.”

Placing the HorizonPlacing the Horizon The choice of where to put the horizon line is unlimited; it The choice of where to put the horizon line is unlimited; it

does not have to be centered.does not have to be centered.Exploring One-Point PerspectiveExploring One-Point Perspective Place one point on the horizon, all lines will then go to Place one point on the horizon, all lines will then go to

this point.this point.

Example:One-Point PerspectiveExample:One-Point Perspective

Leonardo da Vinci. Architectural study for the background of Adoration of the Magi. ca. 1480. Leonardo da Vinci. Architectural study for the background of Adoration of the Magi. ca. 1480. Gabinetto dei Disegni e delle Stampe, Uffizi, Florence, Italy.Gabinetto dei Disegni e delle Stampe, Uffizi, Florence, Italy.

8. Two-Point Perspective8. Two-Point Perspective

Two-Point Perspective: No objects are parallel to the Two-Point Perspective: No objects are parallel to the picture plane and all edges recede to two points on the picture plane and all edges recede to two points on the horizon line. horizon line.

This effect was rediscovered and developed during the This effect was rediscovered and developed during the Renaissance period. Renaissance period.

Two-Point Perspective appears to be more natural and Two-Point Perspective appears to be more natural and lifelike.lifelike.

You are not looking head-on at a scene but viewing You are not looking head-on at a scene but viewing more from an angle.more from an angle.

Closer to our normal viewing experience. Closer to our normal viewing experience.

Example:Two-Point PerspectiveExample:Two-Point Perspective

Giovanni Antonio Canal, known as Canaletto (1697 - Giovanni Antonio Canal, known as Canaletto (1697 - 1798). Campo Santa Maria Zobenigo. Venice, 1798). Campo Santa Maria Zobenigo. Venice,

Italy. Oil on canvas, 1' 6 1/2" x 2' 6 5/8" (47 x 78.1 Italy. Oil on canvas, 1' 6 1/2" x 2' 6 5/8" (47 x 78.1 cm). Private collection, New York.cm). Private collection, New York.

Diagram superimposed over painting. The angled lines of the architecture would meet at two points on the

horizon.

9. Multipoint Perspective9. Multipoint Perspective

Multipoint PerspectiveMultipoint Perspective – Uses – Uses more than 2 vanishing points. more than 2 vanishing points.

Can create a disorienting, Can create a disorienting, anxious or unusual feeling in anxious or unusual feeling in the viewer. the viewer.

For Dynamic Spatial EffectsFor Dynamic Spatial Effects

Use of multipoint perspective Use of multipoint perspective (more then 2) creates a strong (more then 2) creates a strong sensation.sensation.

George Tooker. The Subway. 1950. Egg tempera on composition board; sight: 1' 6 1/8" x 3' 1/8" (46 x 91.8 cm), frame: 2' 2" x 3' 8" (66 x 111.8 cm). Whitney Museum of American Art, New York (purchase with funds from the

Juliana Force Purchase Award 50.23).

10. Amplified Perspective10. Amplified Perspective

Amplified PerspectiveAmplified Perspective A very special view when the A very special view when the

item is pointed directly at the item is pointed directly at the viewer. viewer.

Gives a dramatic, dynamic Gives a dramatic, dynamic quality. quality.

May use foreshortening.May use foreshortening. Pulls the viewer into the Pulls the viewer into the

picture quickly. picture quickly.

Juxtaposition Juxtaposition - When one image - When one image or shape is placed next to or in or shape is placed next to or in comparison to another image comparison to another image or shape.or shape.

Tony Mendoza. Yellow Flowers. Photograph on 100% rag paper, 1' 9" x 2' 8".

11. Multiple Perspectives11. Multiple Perspectives

Multiple Perspective Multiple Perspective - Looking - Looking at a figure or object from more at a figure or object from more than one vantage point at the than one vantage point at the same time. same time.

Multiple Perspectives in Ancient Multiple Perspectives in Ancient Art Art

Was a basic pictorial device Was a basic pictorial device used in Egyptian art.used in Egyptian art.

The objective was not to show The objective was not to show the figure as it really was but to the figure as it really was but to show the most descriptive part. show the most descriptive part.

Side view and of head might Side view and of head might be combined with the eye seen be combined with the eye seen from the front.from the front.

Detail of Wall Painting in the Tomb of Nakht, Thebes. c. 1410 BC. Victor R. Boswell, Jr., National Geographic photographer..

Multiple Perspective TodayMultiple Perspective Today

Since the 20Since the 20thth century, with century, with less of an accent on realism, less of an accent on realism, artists are freed to explore artists are freed to explore other avenues of perception.other avenues of perception.

MontageMontage - “putting together” - “putting together” shapes or image from shapes or image from various sources and/or various sources and/or angles. angles.

ConceptualConceptual - Artwork in which - Artwork in which the idea is more important the idea is more important then the execution or then the execution or technique. technique.

..

David Hockney. Brooklyn Bridge, November 28, 1982. Photographic collage, 9' 1" x 4' 10". Collection © David Hockney.

12. Isometric Projection12. Isometric Projection

A Spatial Illusion A Spatial Illusion Isometric ProjectionIsometric Projection – Parallel Lines – Parallel Lines

remain parallel. They do not recede to remain parallel. They do not recede to a vanishing point. a vanishing point.

Isometric Projection in the EastIsometric Projection in the East Traditional Japanese wood block Traditional Japanese wood block

prints often used this.prints often used this.

Isometric Projection in the WestIsometric Projection in the West Rarely seen in western drawingRarely seen in western drawing However, used in engineering and However, used in engineering and

mechanical drawingsmechanical drawings Can create an interesting sort of Can create an interesting sort of

optical illusion.optical illusion.

David Hockney. Self-Portrait with Blue Guitar. 1977. Oil on canvas, 5' x 6' (1.52 x 1.83 m).

13. Open Form/Closed Form13. Open Form/Closed Form

The Concept of EnclosureThe Concept of EnclosureOpen and Closed form Open and Closed form -- Determines if we see a Determines if we see a

complete or only a partial view complete or only a partial view of a scene.of a scene.

How the image is contained How the image is contained inside the format. inside the format.

This visual example keeps our This visual example keeps our attention within the picture. It attention within the picture. It is en example of is en example of closed formclosed form..

Jean-Baptiste-Siméon Chardin. The Attributes of Music. 1765. Oil on canvas, 2' 11 7/8" x 4' 8 7/8” (91 x 145 cm).

Musée du Louvre, Paris, France..

Exploring Closed FormExploring Closed Form

Closed formClosed form— When the picture and the — When the picture and the object lead the viewer’s eye back into the object lead the viewer’s eye back into the picture and not led outward. picture and not led outward.

Creates a formal and more structured Creates a formal and more structured appearance.appearance.

Usually contains a complete scene.Usually contains a complete scene. Often uses shape repetition.Often uses shape repetition.

Exploring Open FormExploring Open Form

Open formOpen form— When an — When an object either breaks out of object either breaks out of the format, or pulls the the format, or pulls the viewer’s eye off of the viewer’s eye off of the canvas.canvas.

Creates a casual informal Creates a casual informal feeling.feeling.

Often involves cropping Often involves cropping of the human form and a of the human form and a unique point of view.unique point of view.

Alex Katz. Ada’s Red Sandals. 1987. Oil on canvas, 4' x 5'. Alex Katz Studio II, New York. Art © Alex Katz/Licensed by VAGA, New York, New York.

14. Transparency14. Transparency

Equivocal SpaceEquivocal SpaceTransparencyTransparency- When two forms - When two forms

overlap, but both can still be seen overlap, but both can still be seen as if one were see-thru.as if one were see-thru.

Interest in AmbiguityInterest in Ambiguity““Transparency does not give us a Transparency does not give us a

clear spatial pattern.”clear spatial pattern.”(You can’t always tell what is in (You can’t always tell what is in front and what is behind.)front and what is behind.)

Equivocal SpaceEquivocal Space = “Purposeful = “Purposeful ambiguity” Unclear about what is ambiguity” Unclear about what is where or what overlaps what. where or what overlaps what.

Sweatshirt design for a fifth anniversary. 1990. Designer: Jennifer C. Bartlett. Design firm:

Vickerman-Zachary-Miller (VZM Transystems), Oakland, California.