View allAll Photos Tagged composition
I choose this photo because the book is placed on a third and the heart is the framing the letters and the background. The pages forming the heart represents leading lines.
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.
Thinking about the spacing and orientation of objects on a canvas ...
These visualizations illustrate a collection of patterns for programmatically arranging visual objects in 2D space.
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.
Thinking about the spacing and orientation of objects on a canvas ...
These visualizations illustrate a collection of patterns for programmatically arranging visual objects in 2D space.
I decided this as my final composition for these four images. These images I felt were all relative and similar as they all revolve mainly around blue colour schemes and lighting. The main image I decided to print onto matt finish paper using an inkjet printer to reduce glare and ruining gloss with sticking down images onto it had I used that finish. The secondary images I chose to do in 6x4 dye sub prints because of the gloss finish and more vivid colour that the inkjet printer does not achieve. The smaller prints though on the border are all evenly spaced from the main image and are all four centimetres inwards aligned with the main image.
Saimaiyu Akesuk
Born in Iqaluit, Nunavut, in 1988
Active in Cape Dorset, Nunavut
2018
Wax crayon over traces of graphite, on black paper
56.5 x 76.3 cm
Purchase, Geraldine C. Chisholm Bequest
Inventory 2018.321
Saimaiyu Akesuk is the granddaughter of the famous Cape Dorset sculptor Latcholassie Akesuk (1919-2000). The first drawing she sold to the Cape Dorset print studio – with the encouragement of her friend Ningiukulu Teevee, one of the leading lights in Cape Dorset graphic art – was inspired by one of her grandfather’s whimsical birds, and his spirit seems to continue to live through her art. Saimaiyu’s vivid animal drawings also recall the work of the Cape Dorset elder graphic artists Sheojuk Etidlooie (1929-1999) and Papiara Tukiki (born 1942), but Saimaiyu has definitely found her own personal style.
In her joyful drawings, Saimaiyu seems to have resisted adopting not only a realistic style, but even a sense of deliberate design. Her works have a childlike sense of whimsy and fun, and lack even a hint of the irony or angst that is present in the work of many of her peers. An elementary school teacher in Cape Dorset, Saimaiyu has seemingly taken inspiration from her students (and her elders) rather than from her artist colleagues, many of them stars of the contemporary Canadian art scene.
Composition (Purple Bear) positively bursts with energy; the animal seems ready to break free from the borders of the black paper at any moment. The radiating lines of exuberant colour are like an explosion of fireworks – and interestingly but perhaps coincidentally are reminiscent of Kenojuak Ashevak’s iconic 1960 print The Enchanted Owl. In fact, there is a definite “early 1960s” sensibility about the work; despite the obvious modernity of its colour palette and pattern, the shape of the bear is refreshingly unaffected, even naive.