Design

1. Design PrinciplesDesign Principles
Chapter 10 – Illusion of SpaceChapter 10 – Illusion of Space

2. Translating Space to Two DimensionsTranslating Space to Two Dimensions
3-Dimensional art allows us to3-Dimensional art allows us to
walk around all occupiedwalk 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 as2-Dimensional art such as
drawings, paintings and prints,drawings, paintings and prints,
which are flat, may strive towhich are flat, may strive to
create thecreate the illusionillusion of space orof space or
depth.depth.
This 2-Dimensional surface isThis 2-Dimensional surface is
called thecalled 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).

3. Ways to Show DepthWays to Show Depth
1.1. SizeSize
2.2. OverlappingOverlapping
3.3. Vertical LocationVertical Location
4.4. Aerial PerspectiveAerial Perspective
5.5. Plan and ElevationPlan and Elevation
6.6. Linear PerspectiveLinear Perspective
7.7. One-Point PerspectiveOne-Point Perspective
8.8. Two Point PerspectiveTwo Point Perspective
9.9. Multipoint PerspectiveMultipoint Perspective
10.10. Amplified PerspectiveAmplified Perspective
11.11. Multiple PerspectiveMultiple Perspective
12.12. Isometric PerspectiveIsometric Perspective
13.13. Open Form/Closed FormOpen Form/Closed Form
14.14. TransparencyTransparency
Michel Taupin. Gros Ventre #3. 2006. Digital photograph.

4. 1. Size1. Size
1. Size1. Size
SizeSize – Objects that are close to– Objects that are close to
us are larger. As they recedeus 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 similarWorks best with similar
objects. (Line of Trees, etc…)objects. (Line of Trees, etc…)
How to use:How to use:
 Repeat objects over and overRepeat 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).

5. Spatial Effect with AbstractSpatial Effect with Abstract
ShapesShapes
 Size factor repetitionSize factor repetition
also works withalso works with
abstract shapes.abstract shapes.
 Similar shapesSimilar shapes
repeated works best.repeated works best.
 A variety of differentA variety of different
shapes will be lessshapes 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).

6. ““Using relative sizes to give aUsing relative sizes to give a
feeling of space and depth isfeeling of space and depth is
very common to manyvery 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 familiarTake an object with a familiar
size.size.
2.2. Place it in the foreground asPlace it in the foreground as
a very large object and /ora very large object and /or
have it escape the edges ofhave it escape the edges of
the picture plane.the picture plane.
3.3. Place other familiarly sizedPlace 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 aThis 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.

7. 2. Overlapping2. Overlapping
 Simple device for creatingSimple device for creating
the illusion of depth.the illusion of depth.
 Each shape hides part ofEach shape hides part of
another, except the topanother, except the top
shape.shape.
 The illusion of depth isThe illusion of depth is
increased when you useincreased when you use
overlap in combinationoverlap in combination
with change in size.with change in size.
 This works with abstractThis 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.

8. 3. Vertical Location3. Vertical Location
 This is a spatial device in whichThis is a spatial device in which
elevation on the page indicateselevation on the page indicates
a recession into depth.a recession into depth.
 Higher in the picture plane isHigher in the picture plane is
further away from us.further away from us.
 Objects lower in the pictureObjects lower in the picture
frame are considered closer.frame are considered closer.
 Was used widely in NearWas 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.

9. Emphasizing Figures andEmphasizing Figures and
Objects with Vertical LocationObjects 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 verticalThe use of vertical
location canlocation can
emphasize the figures,emphasize the figures,
objects or architecturalobjects or architectural
features in a work.features in a work.
 The objectsThe objects
themselves becomethemselves become
more important thenmore important then
depth or spatialdepth or spatial
relationships.relationships.

10. 4. Aerial Perspective4. Aerial Perspective
Aerial (Atmospheric)Aerial (Atmospheric)
Perspective—usePerspective—use of color orof color or
value to show depth.value to show depth.
 Color and/or value lessensColor and/or value lessens
and is less distinct as anand is less distinct as an
object recedes.object recedes.
How it looks:How it looks:
 Objects turn blue gray andObjects turn blue gray and
fade.fade.
 Contours become less distinctContours become less distinct
 Edges are less clear, lessEdges 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.

11. Example: Aerial PerspectiveExample: Aerial Perspective
Here color changes andHere color changes and
objects are less distinctobjects are less distinct
and show less contrastand show less contrast
as they go back inas they go back in
space.space.
The far hills take on theThe 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.

12. 5. Plan, Elevation, Perspective5. Plan, Elevation, Perspective
The Three kinds of drawingThe Three kinds of drawing
used to communicate inused to communicate in
Architecture.Architecture.
 Plan, elevation andPlan, elevation and
perspective drawings areperspective drawings are
needed to tell the “wholeneeded to tell the “whole
story”.story”.
 Here is an example ofHere 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.

13. Example: ArchitecturalExample: Architectural
PerspectivePerspective
Allows us to visualize theAllows us to visualize the
building from a uniquebuilding 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.

14. 6. Linear Perspective6. Linear Perspective
Linear PerspectiveLinear Perspective—As—As
parallel lines recede, theyparallel lines recede, they
appear to converge andappear to converge and
to meet on an imaginaryto meet on an imaginary
line called the horizon, orline 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 alllines on parallel planes all
converge at the sameconverge at the same
place on the horizon line.place on the horizon line.

15. Example: Linear PerspectiveExample: Linear Perspective
 Other cultures useOther cultures use
perspective too,perspective too,
thereby making it athereby 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).

16. 7. One-Point Perspective7. One-Point Perspective
One-Point Perspective: All lines go to one point: theOne-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 theThis effect was rediscovered and developed during the
Renaissance period.Renaissance period.
““A single point has been placed on the horizon line and allA single point has been placed on the horizon line and all
the lines at right angles to the plane of the canvasthe 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; itThe 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 toPlace one point on the horizon, all lines will then go to
this point.this point.

17. 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.

18. 8. Two-Point Perspective8. Two-Point Perspective
Two-Point Perspective: No objects are parallel to theTwo-Point Perspective: No objects are parallel to the
picture plane and all edges recede to two points on thepicture plane and all edges recede to two points on the
horizon line.horizon line.
 This effect was rediscovered and developed during theThis effect was rediscovered and developed during the
Renaissance period.Renaissance period.
 Two-Point Perspective appears to be more natural andTwo-Point Perspective appears to be more natural and
lifelike.lifelike.
 You are not looking head-on at a scene but viewingYou 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.

19. 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 78.1Italy. 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.

20. 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 inanxious or unusual feeling in
the viewer.the viewer.
For Dynamic Spatial EffectsFor Dynamic Spatial Effects
 Use of multipoint perspectiveUse 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).

21. 10. Amplified Perspective10. Amplified Perspective
Amplified PerspectiveAmplified Perspective
 A very special view when theA very special view when the
item is pointed directly at theitem is pointed directly at the
viewer.viewer.
 Gives a dramatic, dynamicGives a dramatic, dynamic
quality.quality.
 May use foreshortening.May use foreshortening.
 Pulls the viewer into thePulls the viewer into the
picture quickly.picture quickly.
JuxtapositionJuxtaposition - When one image- When one image
or shape is placed next to or inor shape is placed next to or in
comparison to another imagecomparison to another image
or shape.or shape.
Tony Mendoza. Yellow Flowers. Photograph on 100%
rag paper, 1' 9" x 2' 8".

22. 11. Multiple Perspectives11. Multiple Perspectives
Multiple PerspectiveMultiple Perspective - Looking- Looking
at a figure or object from moreat a figure or object from more
than one vantage point at thethan one vantage point at the
same time.same time.
Multiple Perspectives in AncientMultiple Perspectives in Ancient
ArtArt
 Was a basic pictorial deviceWas a basic pictorial device
used in Egyptian art.used in Egyptian art.
 The objective was not to showThe objective was not to show
the figure as it really was but tothe figure as it really was but to
show the most descriptive part.show the most descriptive part.
 Side view and of head mightSide view and of head might
be combined with the eye seenbe 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..

23. Multiple Perspective TodayMultiple Perspective Today
 Since the 20Since the 20thth
century,century,
with less of an accent onwith less of an accent on
realism, artists are freedrealism, artists are freed
to explore other avenuesto explore other avenues
of perception.of perception.
MontageMontage - “putting together”- “putting together”
shapes or image fromshapes or image from
various sources and/orvarious sources and/or
angles.angles.
ConceptualConceptual - Artwork in- Artwork in
which the idea is morewhich the idea is more
important then theimportant then the
execution or technique.execution or technique.
..
David Hockney. Brooklyn Bridge, November 28, 1982. Photographic
collage, 9' 1" x 4' 10". Collection © David Hockney.

24. 12. Isometric Projection12. Isometric Projection
A Spatial IllusionA Spatial Illusion
Isometric ProjectionIsometric Projection – Parallel Lines– Parallel Lines
remain parallel. They do not recede toremain 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 printsTraditional Japanese wood block prints
often used this.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 andHowever, used in engineering and
mechanical drawingsmechanical drawings
 Can create an interesting sort ofCan 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).

25. 13. Open Form/Closed Form13. Open Form/Closed Form
The Concept of EnclosureThe Concept of Enclosure
Open and Closed formOpen and Closed form --
 Determines if we see aDetermines if we see a
complete or only a partial viewcomplete or only a partial view
of a scene.of a scene.
 How the image is containedHow the image is contained
inside the format.inside the format.
 This visual example keeps ourThis visual example keeps our
attention within the picture. Itattention within the picture. It
is en example ofis 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..

26. 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 theobject lead the viewer’s eye back into the
picture and not led outward.picture and not led outward.
 Creates a formal and more structuredCreates 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.

27. Exploring Open FormExploring Open Form
Open formOpen form— When an— When an
object either breaks out ofobject either breaks out of
the format, or pulls thethe format, or pulls the
viewer’s eye off of theviewer’s eye off of the
canvas.canvas.
 Creates a casual informalCreates a casual informal
feeling.feeling.
 Often involves croppingOften involves cropping
of the human form and aof 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.

28. 14. Transparency14. Transparency
Equivocal SpaceEquivocal Space
TransparencyTransparency- When two forms- When two forms
overlap, but both can still be seenoverlap, 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 aTransparency 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 isambiguity” 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.