TIME AND ART

Time and Art

Time and Art

The image depicts a scenario very important that woman shows her belongings of the old age, but the objects in surrounding are fully modern based, more negative aspects are stating here that the shadows are in conflict with the robot dog and laptop. Sunlight is coming from the left to the shadow of the laptop should have been the same as that of the dog, as the angle of the shadow of the dog must be more to the viewer. Rainmaker is spot on. Use your shadow cast as an example for the added items the robot dog is too strong.

When we talk about the composition of a given image, attached to a 2-dimensional model and identify the pattern in which the various elements in the image are arranged on the surface, ie, identified as color, shape and are structured lines on the canvas.

This structure is never casual, but governed by certain general ideas that ultimately aim to mediate in the approach / idea / purpose / message, or effect as clearly as possible. In some cases, the goal may be to provoke the eyes - and our inclination to seek balance and harmony and calm aesthetic contemplation. In other cases the goal cannot be satisfied this inclination and create an enchanted atmosphere. These different goals require two very different structural patterns and that these are not always directly visible in the picture. That may be implicit, while working as a guiding principle invisible to our eyes, and wandering around in the pictorial world, trying to establish a sense of order (Robertson, 2005).

The dimensional art must always take into account the spatial representation, but the artist chooses to deny space. Throughout the history of pictorial representations have oscillated between the two extremes of either repression or creating a perfect space. Create a space in a two dimensional surface, however, is to choose from and or combining different techniques, of which the most important are discussed and illustrated below. In some cases, you can create a deliberately ambiguous sense of space, and perhaps therefore decided to reverse the perspective of color. The difference is illustrated in geometric figures below. The illustration on the left feels good, while the right tends to irritate the eyes, something that seems "wrong" because the warm color is pushed forward, while the cool color seems to retreat, resulting in a accident of color virtual (Danto, 2003).

The effect is that the distance between the two forms seems much shorter in the illustration to the right than the one on the left and the pictorial space on the left much larger than the right. The overlay creates a very limited depth, and emphasizes the flatness of an image.

Throughout the history of art, which is usually dominated in the art that has had a deliberate policy to go beyond reality, whether in religion (heaven) or just the pure sphere of color and visual abstraction form? An example of the former is the icons of ...