View allAll Photos Tagged composition
nuclear imaging device, cardiac imaging lab, Broad&Race, Philadelphia, PA
Thanks to the tech who let me take this.
Asymmetric balanced composition. I see a sort of near-vertical line between the devil and the upside-down man, the tree/antler the devil is on follows that same line.
--irregular rhythm, the antlers coming sideways(!) from the sideways heads of deer. The deer on the lower part of the page are closer together,
--The heads of the deer are a graduated rhythm, I think the density of the deer heads at the bottom might be in balance with the devil's arm.
There are Antlers rising from bottom of page too (deer beyond frame?)
Man caught in tangle, upside down. He looks as if he is falling, he looks also as if he is still, caught in the bramble of antlers. There's a sort of which-way-is-up idea, the man or the devil or the animals?
All those antlers are a lot of line directions using all the space. It reminds me of lace because it's complicated. Despite the feeling of upside-down caught in it, there's a lot of resting space, and almost a stillness as if resting, a still frame from the struggle, it has a peacefulness to me. I believe this cover is an example of harmony.
I wonder at the choice of a font that almost disappears, despite the use of color to pick it out from the picture. I would have chosen something heavier.
It´s not my favourite picture but i like the sepia colours and the simplicity of the forms. Yust a fork and a knife. Please give coments.
Artemis, the multinational, multigenerational supergroup of women in Jazz arrived at the Jazz Tent on May 4 showcasing and combining the talents and compositions of some of the most acclaimed musicians in modern jazz. Artemis performed during the opening day of the second weekend at the 2023 New Orleans Jazz and Heritage Festival a day before their sophomore album was to be released.
www.lladrofromspain.com/0maswl.html
Issue Year: 2005
47 x 40 CM
18ž x 16"
Base included.
Limited Edition : 1000 Units
The swan is noted for the elegance of its long neck and its unconditional loyalty. Indeed, once they have chosen a partner, the couple remains together for the rest of their lives. It is a piece with great technical complexity in the aerial composition. Its firing is also difficult due to its fragile long neck, since the porcelain must withstand high kiln temperatures without breaking or bending. The water lilies are another attractive feature of the piece with this highly original flower worked in detail. The glazes used to depict the water in motion are also very successfully executed.
I was kind of looking at Mondrian and how he does things when he makes a composition. Still ignorant about the golden section I didn't use it perfectly, but some of these rectangles really do look perfect. Pencil and permanent marker on paper.
Snowy Owl | Arrival
From a distance of 250 meters*, this Snowy Owl descended from its high perch to glide into the wind inches above an open field and graciously landed next to the remnants of a patch of snow, 70 meters from where I was standing under a cloudy sky just before sunset. Although it momentarily looked in my direction on a few occasions, it generally set its gaze away from my location, suggesting the bird was not stressed by my presence. I could have closed the gap with the bird to get sharper shots. However, I resisted the impulse to give the bird the space it needed. Instead, I did not linger and promptly left the site knowing that my mid-range telephoto lens and high-resolution camera along with post-production editing tools would nonetheless turn out interesting flight shots and compositions. Looking at the result, I believe I was right in balancing my interaction with this angel visiting from the arctic circle. Southeastern Ontario, Canada.
*Distances measured from Google Satellite map.
For this photo I used the rocks as both leading lines and a frame for the subject which is the frame. I also put it on the rock that I did because it was in the best spot to implement rule of thirds into my photo. I chose to take this photo because I felt that the orange color of the pumpkin stood out well on the grey rock. I submitted this photo because I like the simplicity of it and the aspects of nature used for composition techniques.
By (James) Jacques-Joseph Tissot, French, 1836-1902. Lithograph after a painting now in the Brooklyn Museum, New York.
The prints are from “La Vie de Notre Seigneur Jésus Christ: trois cent soixante-cinq compositions, tirées des Quatre Evangiles avec des notes et des dessins explicatifs par J. James Tissot” 4 vols. Illustrations by James Tissot. Publisher: Tours: Alfred Mame et Fils, 1896-97. Folio. 279 pages (text) with 36 plates and an additional suite of 333 in-text plates. 5 sections (The Holy Childhood, The Ministry, Holy Week, The Passion, The Resurrection) containing 365 compositions from the four gospels. The numerous in-text illustrations are in full color, sepia, and monochrome. The text volumes are printed on grand velin paper with 36 tissue-guarded full-page hors-text plates in duplicate (color and green or sepia-tone lithographs). Paper size 15 3/4 x 12 3/4 inches; image size varies (ca 9 1/2 x 6 1/2 inches).
In America the publisher was Doubleday & McClure Co. who produced 100 “Grand Luxe” copies and 600 “Autograph Edition” copies containing extra features and marketed in conjunction with exhibitions of Tissot’s Bible illustrations in America. “The Life of Or Saviour Jesus Christ. Three Hundred and Sixty-Five Compositions From the Four Gospels with Notes and Explanatory Drawings by J James Tissot.” Notes Translated by Mrs. Arthur Bell. New York: The McClure-Tissot Company, 1899.
The work was printed in France by Lemercier, who employed some 100 workmen to prepare 4000 plates for various colours and processes - lithograph, photogravure, typographer, wood engraving etc. Tissot himself supervised the preparation of the plates and later the printing of the volumes; they may therefore be said to embody the artist's intention in the medium of chromolithography as well as paint.