"What did you do, Ray?!" --- "...it's the Stay Puft Marshmallow Man."

This will be a quick session regarding Scale Confusion, which is what happens when an object, figure or other element in the design is scaled in such a way as to create a juxtaposition to the other elements. See below.

Admittedly, the above paragraph could have been worded better.

The giant baseball bat in this image will jar the viewer due to it's size difference in contrast to the small people walking around it. (Unless you frequent Louisville and have since become desensitized to it.)

This effect is used to create dynamic designs and works of art that surprise or catch the attention of the viewer.

The cockroach in the bed is huge. Or, perhaps the bed and room are actually quite small, complete with microscopic shoes and books. In either event, this type of artistic device can be useful, and has been implemented in many art forms, from painting to advertising, to catch the attention of viewers.

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"Ray, when someone asks you if you're a god, you say 'Yes'!"

Honey, You're Not Out of Shape, You're Just Curvilinear

This session we'll be covering a myriad of terms involved with shape. This will be a large, long post, mostly rectangular, so let's jump right into it. Here's the rundown.

-Nonobjective Shapes

- Rectilinear Shapes

- Curvilinear Shapes

We'll also cover some aspects within art styles that involve variations on shape and proportion. These are below.

- Naturalism

- Idealism

- Abstraction

- Distortion

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The image below contains only Nonobjective shapes, shapes with no reference and no subject matter suggestion. Nonobjective shapes can be rectilinear or curvilinear in nature.

No suggestion to subject matter, no focal point, nothing. It's as if the artist put forth no thought into making it whatsoever.

The next image consists of shapes that are Curvilinear, or dominated by curves. Many forms in nature tend to be curvilinear

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Finally, designs that are dominated by rectangles and squares and sharp edges tend to be classified as Rectilinear. Below is an architectural design by Frank Lloyd Wright, called Fallingwater. The rectilinear design he chose for this house juxtaposes against the natural organic shapes of the nature around it, creating a dynamic atmosphere.

This has been a quick overview of types of shape.

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Next, we will discuss a few Isms.

Within the realm of art, there has been a need to accurately represent the world around us. Therefore, the ability to reproduce the natural world was intensely important in early art, and this style of art is called Naturalism.

. Naturalism is achieved when an artist faithfully and accurately reproduces the shape, color, proportions, etc of figures, forms, or other objects found in the world. Take a look at the painting below. 

The sheep have been as accurately portrayed as possible.

When an artist starts to step away from Naturalism and depicts things not as they are, it is normally through a type of distortion. Many works of Picasso involve distortion. Distortion is also the tool of caricature artists.

Above, the characteristics of the figures face have been distorted to convey certain aspects.

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There is a specific type of distortion called Abstraction, which implies a simplification of natural shapes to essential, basic characters. Below is a painting by Mondrian, where he distills from the natural shape of the tree only a few of it's basic tenets.

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If Naturalism is about how the world looks as it is, then of course there would be a style for the opposite. Idealism is the best type  a type of distortion that shows natural forms not as they are, but as they should be. The painting below, a Bouguereau, is realistic in a sense, but also highly idealized.

As one can see, no blemishes, no flaws, and as such, a work of fiction.

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Shape is yet another greatly important aspect of any design or work of art, one of the fundamental building blocks of art.

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If the avante-garrde anti-art movement started by Duchamp has become the only respected form of high art, then where can art go now?

Values: Black, White and Grey Areas

When speaking of Value, in art and design, it is referencing the light and dark of a work. Black is a dark value, white is a light value, and so on. The difference between the value of two elements is known as the value contrast. This session we'll briefly discuss Value Pattern (the arrangement and amount of variation of light and dark) and Value as Emphasis (emphasis created by contrasts of dark and light). We will explore these terms using the most appropriate subject matter: bears.

In this first image, the value pattern might be considered high key, or dominated by lights without many contrasting darks.

On the hunt for a Coca-Cola, no doubt.

In this next image, the value pattern might be considered low key, or dominated by darks.

This bear, on the other hand, feasts only upon human souls.

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When the focal point of a design is achieved by emphasizing a point using value contrasts, it can be said to be utilizing Value Emphasis, like in the image below. The bear is dark, the background is light. There is no doubt that the bear is the bear focal point.

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Value is one of the most important elements within a composition. It can set the tone for a piece, create emphasis and set the mood for a piece. 

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Using bears to illustrate value is ironic, considering bears have no values. They kill indiscriminately.

Get Rhythm, When You've Got the Blues

This session we'll be taking a look at Rhythm, which is a clear repetition of elements that are the same or only slightly modified. There are also two types of Rythym to take into consideration.

- Progressive Rhythm

- Alternating Rhythm

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Here is an example of Rhythm, in the unassuming, innocent form of sushi.

Delicious, savory Rhythm.

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When a theme or motif repeats in a rhythm that is alternating yet predictable and regular, it can be considered an Alternating Rhythm, as seen below.

Copyright Justin Comley 2011...on the off-chance that anyone would ever want to use this image.

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Another type of Rhythm is called Progressive Rhythm, which is when the element being repeated changes in a regular manner, such as in the image below. The railroad ties are the rectilinear motif being repeated. They are repeated in a regular manner, each getting smaller as they recede to the horizon.

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Rhythm within a design can add a much needed sense of unity to an otherwise jumbled mess of objects and elements.

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The majority of the time spent on this blog post was spent on fumblingly attempting to correctly spell "Rhythm".

Art Your Day With a Balanced Breakfast

This session we'll be discussing the different types of balance within a composition. Balance is the visual weight of elements within a design, and is necessary for a complete and healthy work of art. Some terms we'll explore are below.

- Symmetrical Balance

- Asymmetrical Balance

- Radial Balance

- Crystallographic Balance

Below are some examples.

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Symmetrical Balance is achieved when one side (left, right, top or bottom) is similar or identical to it's opposite, symmetrically flipped over either the X or the Y axis.The image below shows this type of balance. If the left or right side were flipped onto the other, it would look nearly identical.

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The opposite of Symmetry is known as Asymmetry, and an asymmetrical image can also be balanced. 

The left side of the above image is heavy with shape and line, but it is balanced by the right side by the color of the smaller circle. In the painting below, the dark-heavy right side is balanced by the light bottom left. 

Another painting that has been graciously allowed to be used by Justin Comley.

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Radial Balance is when the elements of the design radiate out from the center of a focal area. Radial Balance can be either symmetrical or asymmetrical, depending on the placement of the focal point. In the image below, the tentacles radiate from the center, creating this type of balance. 

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Crystallographic Balance (or allover pattern) is the final type of balance. It is achieved by no single element having the focus within the work, so that the attention is called to the design as a whole. A checkerboard might be considered to have this type of visual balance. The painting shown below exhibits this type of balance as well.

No single piece attracts the eye, allowing the viewer to see the piece as a whole instead of separate elements. 

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It should be kept in mind that a work of art or design doesn't need to be balanced in order to be successful. Without balance, a work of art leaves the viewer with a sense of unease or tension. If this is the desire of the artist or designer, then they may choose to imbalance a work of art.

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No images used with permission, other than those made by Justin Comley, because he said it's ok.

It's Not the Size of the Paintbrush, It's the Notion of Motion

With this session we'll be exploring Motion and how to convey it in an unmoving medium, such as painting. The terms this session are.....

- Anticipated Motion

- Illusion of Motion by Repeated Figure

- Illusion of Motion by Blurred Outline

- Illusion of Motion by Multiple Image

Let's jump right in with some examples.

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Anticipated Motion is when the elements in a piece of art signify that an event or action is about to take place. As seen below, the motion is milliseconds from taking place. This image produces a sense of anticipation and tension, and makes for a dynamic image.

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The Illusion of Motion by Repeated Figure is employed when a single artwork has the main figure repeated in various situations or actions in order to imply motion. This technique was often employed in ancient times in order to tell a narrative within a single artwork. Below is a contemporary example.

The movement of the man is implied by way of having himself repeated in three frames, and his movement can easily be seen by the mind's eye. Triptychs were very effective at conveying this type of illusion, and remain so to this day. A better example (one less within the realm of Multiple Image, which will be discussed in a moment) is given to us by the esteemed artist, philosopher and billionaire, Justin Comley. His highly acclaimed piece below, "Man Picking Up Child", is an example of Illusion of Motion by Repeated Figure. 

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When an object has a blurred outline (especially when other elements within the image are not as blurred) the effect generates a feeling of motion. This is the Illusion of Motion by Blurred Outline. The figures below that are moving the most are the most blurred ones, and this fact is not lost on the viewer.

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The Illusion of Motion by Multiple Image creates a sense of motion by showing the same object or figure in an artwork in multiple poses or positions, often overlapping. And after the advent of photography, it wasn't long before some clever darkroom-dwelling madman discovered the ability to expose an image more than once, thus producing the same effect via photography. Here are two examples of this type of illusion.

With the above image, the sense of motion is created by parts of the figure and bicycle being repeated across the painting. With the image below, the sense of motion is created by having several hands and balls repeated, implying the act of juggling.

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The illusion of motion can be used to create dynamic and engaging designs and artworks. These have been a few examples of such work.

Life after Depth: Space and Perspective

Perspective techniques are used to convey space, but these techniques are also used to convey other things within a design or artwork. The terms we'll look at today are these:

- Amplified Perspective 

- Multiple Perspective

- Equivocal Space

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 When an object or item is pointed directly at the viewer in a piece of art, it creates a dynamic sense of space and dimension that is unique. This is called Amplified Perspective. The image below is an example of this.

Though not pointed directly at the viewer, the largeness of the gun implies space, and the perspective overall engenders a dynamic feel.

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Multiple Perspective is a technique that allows more (or different) visual information to be conveyed than in a traditional One Point perspective design. With this technique, the viewer is given two or more vantage points to see from. Panoramic photographs are an example of this technique in action.

This device is not limited to photography of course. The artist Pablo Picasso used this device in his abstractions as well. Below, one can see how, if Picasso had followed the rules of traditional one-point perspective, the other side of the woman's face would not be visible. Due to Multiple Perspective, one vantage point allows the viewer to see the woman sleeping with her profile to the viewer, the other vantage point perhaps from above, revealing her entire face.

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Another device used frequently is called Equivocal Space, when two or more objects or elements in a design overlap, creating a transparency that the viewer cannot distinguish which element is on top of the other. Below is an example of this by world-renowned concept artist and illustrator Justin Comley.

This artwork is assumed to have taken the artist several months to complete.

 

 

This technique is in no way limited to simple shapes and transparencies. Spatial Ambiguity, or arranging the elements of a design in a way that leaves things ambiguous or readable in more than one way, can be applied to any type of artwork to add an interesting element to the work.

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These are a few ways to add dynamic or interesting elements to a design or artwork.

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Justin Comley is now available in new colors; Blaze Blue, Fiery Teal, and Ocean Red. Details below.

A Matter of Life and Depth: Conveying Space (Part 1)

Since the beginning of art, a challenge that artists have had to overcome is the question of how to convey a sense of space within a piece, in order to fit more information or elements into the work of art. Many answers and devices have been found throughout history, and we will explore some of them today.

Some key terms.

- Illusion of Space By Overlapping
- Illusion of Space by Vertical Location
- Illusion of Space by Aerial Perspective
- Illusion of Space by Linear Perspective


 We will now take a look at some examples .

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One way to achieve the Illusion of Space is by Overlapping. This photograph of the Pyramids of Giza is an example. The pyramids overlap and thus appear to be more in the foreground, thus, closer to the viewer in space.

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 Another way to convey space is by Vertical Location. Generally speaking, humans perceive that which is higher in the picture plane as being farther away in space, and artists have long used this device to convey space this way.

This technique was used extensively in India as part of the Mughal style (Above is a painting by Basawan). Below is another example of space by Vertical Location by a similarly famous artist.

The artist would have been credited, but he could not be found.

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Another way to convey space is by Aerial Perspective or Atmospheric Perspective. The latter term more accurately describes the logic behind this device. Atmospheric perspective relies on the fact that objects farther away in space are more obscured by the atmosphere, are lighter in value, and are less contrasted with less distinctive edges. The photograph below is an example of this.

The fog obscures the objects farther away, making them less contrasted and more blurry. There is no question as to which tree is closer.  

This phenomenon can be used very effectively to convey space.

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Linear perspective is the device to show space that takes advantage of the fact that parallel lines, as they recede into space, appear to converge. The image below is a basic yet accurate example of this fact. 

The side lines of the road and the middle yellow lines are parallel, yet they appear

to converge to a point in the distance, thus creating a sense of space.

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Next, we will discuss perspective in more detail.

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Justin Comley blog pages are made with 100% recycled paper and/or industrial radioactive by-products.

Lines, Tigers and Bears, Oh My!

Today we'll be talking about Lines. What is a line?

A line is a point set in motion, the first dimension. It is the basic building block for writing, drawing, painting, and without it, one could not easily convey representational things.

We'll see examples of the following.

- Line as shape

- Line direction

- Line as Emotion

- Contour Line

- Gesture Line

- Line as Value

We'll also see an example of what's called Lost and Found Contour.

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We have all seen line used to convey the shape of a thing. Such as in this drawing of a bear. The lines give visual information about the proportion and general shape of the bear. This is also an example of Contour Line, where line is used to express the edge of a shape more than an attribute of the thing being drawn (such as emotion or gesture).

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Line direction also gives information. Horizontals imply stillness and rest, verticals imply slightly more activity, but still very stable. Diagonals imply motion and action. Take a look at these two images.

 The image above, with it's many diagonal lines radiating from the center, imply a dynamic, active motion; that of, obviously, an explosion. The image below, on the other hand, implies a calmness and still serenity, with hardly anything but horizontals.

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Line can also be used to convey emotion. In this image, the emotion being conveyed is fear and surprise.

 

Despite the poor image quality, one can see the quick, short diagonal lines radiating from Calvin as he is overtaken with surprise by Hobbes. Even the lines of Hobbes convey the sleek, sneaky nature of his pouncing.

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Next we look at Gesture Lines, which are used to convey the dynamics of a pose or movements. The next artwork we will look at is a study of a boy tossing a ball back and forth between his hands, drawn by world-renowned concept artist and illustrator, Justin Comley.

As gesture lines, they are less concerned with rendering the contours of the body and are more concerned with depicting the motion of the figure tossing the ball back and forth and the overall pose (or poses) of the figure. With such a firm grasp of artistic elements, one can only assume the artist excelled in his schoolwork.

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Line can also be used to create value, as seen in most paper currency. The lines present, through hatching and crosshatching, create a sense of depth and dimension through creating value.

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The last topic to be covered is Lost and Found Contour, where the edges of a shape express the contour of the shapes or figures, but then recess into darkness. The image presented is a Caravaggio, who was a master of chiaroscuro, which often shows Lost and Found Contour.

As one can see, the woman's face and neck has a sharp contour, but then it recedes into darkness. The same can be said about the rightmost figure's shoulders, and of course the head of John the Baptist exhibits this quality as well.

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Line can be used in an infinite amount of ways to effectively convey shape, value, and even more abstract things like emotion. These images are prime examples of the power of line.

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Image for Gesture Line was used with express permission of the artist Justin Comley, copyright Amazing Art Inc, established 2031.

William Shatner, or How I Learned to Stop Worrying and Love Emphasis and Focal Points

Let's....talk. About Emphasis...and, of course, Focal....Points. *ahem*

The reason behind emphasis and focal points are too attraact attention to certain elements within a design or piece of artwork. Let's talk about some ways to emphasize and attract attention.

- Emphasis by Contrast

- Emphasis by Isolation

- Emphasis by Placement

And we'll also cover degrees of emphasis, as well as the lack of a focal point.

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This first image shows emphasis by contrast. The red frowny face is contrasted by the color and of course by the fact that it's frowning instead of smiling. Had the frowny face been yellow like the rest, it would not have been nearly as effective as a focal point.

 

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This next image shows emphasis by isolation. The chair is isolated from other elements, and is easily seen to be the focal point of the photograph. The viewers eye is attracted to the chair, it stands out because it is the only element truly isolated.

 

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Again, we look to Bouguereau for another great example of artistic elements at work. Here he shows emphasis by placement. Venus is at the center of the work. Also, the continuation of the cherubs behind her lead the eye to her. There are also several psychic lines leading the eye to her, as well as several implied lines that are pointed at her. (We'll talk about lines next session.) With this myriad of elements about her, she easily becomes the focal point.

 

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There are several degress of emphasis as well. A successful design can have multiple focal points, not just one. The way this is achieved is through levels of emphasis, each utilizing more or less of the ways of emphasis as covered above. Take a look at this piece, again, by Bouguereau (as you might have guessed, he is one of my favorite artists.) It depicts Dante and Virgil in Hell, witnessing two damned souls.

The first focal point is the one with the most emphasis; the two figures in the middle. They are emphasized by the extreme contrast of overall value, and also by their placement in the center of the piece. The secondary focal point is that of Dante and Virgil themselves, emphasized by their own contrast against the lighter background behind them, as well as the lines leading from the elbow of the main figure to Dante's cloak up to their faces. A third focal point could be argued to be the demon flying in the background, also distinguished from the nearly abstract background by way of contrast.

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Absence of a focal point. 

And what about if an artist or designer wishes to emphasis the whole over any certain element? They simply make sure nothing stands out too much within the piece. Observe this piece by Pollack.

No one element outshines any other by contrast, hue, value placement or any other way of emphasis, therefore denying a focal point, allowing the viewer to be engrossed by the whole of the work instead of any singular part of it.

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Justin Comley TV is a Fair Trade organization and is supported by economically friendly sponsors and of course, viewers like you. Next up, Line.

United We Stand

Unity, as stated before, is necessary to the effectiveness of a piece of work. Let's explore some other ways to achieve Unity.

- Unity through Repetition
- Unity through Continuation
- Unity through Continuity

And also, we'll see an example of Unity with Variety.

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This first image by Warhol shows a great example of Unity through Repetition, which is creating unity by repeating the same motifs or images throughout a work. Here, he repeats the image of Monroe over and over, the only difference being hue and values.

 

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This next painting, by William Bouguereau, shows Unity through Continuation, where unity is achieved by the visual elements leading to each other, usually by an edge, a line, or a direction. In this instance, the piece is unified through implied lines and edges of the figures, unifying the image in a line from the bottom right to the top left.

 

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 The next image shows Unity through Continuity, where some theme must unify a series of designs or images. One way it can be achieved is by the use of a grid of sorts, as seen below. Each segment is separated by more or less blank space, but unity is achieved through the spacing and dimensions of each segment. Magazines, graphic novels, web pages and even comics require this type of unity.

 

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Then there is Unity with Variation. Take a look at this image.

This image has unity throughout by way of the spacing and size of the figures, but also variation. The larger elements, such as the blue truck and the snowball launchers, as well as the near-black areas that are filled with the launching snowballs, are all different than the other elements, thus making for a more dynamic scene. There is also variation within the color schemes. Similar colored objects are bundled together in parts of the piece, adding more variety. Though the piece has much variety through sizes and colors of objects, it is also unified by the spacing.

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This has been a Justin Comley presentation. Surround Sound where available, all rights reserved for a table at 7.