Fundamentals Chapter 1 3 Implied Depth Value and

Fundamentals Chapter 1. 3 Implied Depth: Value and Space

Fig. 1. 3. 1 René Magritte, The Treachery of Images [“This Is Not a Pipe”], 1929. Oil on Canvas.

Value: Lightness and Darkness

Fig. 1. 3. 2. Buckminster Fuller, Geodesic Dome [Art Dome], 1963 -79.

Fig. 1. 3. 3. Values and planes of a geodesic sphere.

Chiaroscuro Italian = “Light-dark”

Fig. 1. 3. 4. Diagram of chiaroscuro.

Fig. 1. 3. 5. Chiaroscuro graphic applied to Pierre-Paul Prud’hon, Study for La Source, c. 1801. Black and white chalk on blue paper.

Fig. 1. 3. 6. Caravaggio, The Calling of St. Matthew, ca. 1599 -1600. Oil on Canvas.

Fig. 1. 3. 7. Creating value using hatching and cross-hatching.

Hatchng and Cross-Hatching

Fig. 1. 3. 8. Michelangelo, Head of Satyr, ca. 1520 -30. Pen and Ink on Paper.

Space

Size, Overlapping, and Position

Fig. 1. 3. 9. Beda Stjernschantz, Pastoral [Primavera], 1897. Oil on Canvas.

Alternating Value and Texture

1. 3. 10. Fan Kuan, Travelers among the Mountains and Streams, Northern Song Dynasty, 11 th Century. Hanging scroll, ink and colors on silk.

Brightness and Color

Fig. 1. 3. 11. Thomas Hart Benton, The Wreck of the Ole ‘ 97, 1943. Egg tempera on gessoed Masonite.

Perspective: Atmospheric Perspective Isometric Perspective Linear Perspective

Atmospheric Perspective

Fig. 1. 3. 12. The Effects of atmospheric perspective

Fig. 1. 3. 13. Asher B. Durand, Kindred Spirits, 1849. Oil on Canvas.

Isometric Perspective

1. 3. 14. Xu Yang, The Quianlong Emperor’s Southern Inspection Tour, Scroll Six, Entering Suzhou and the Grand Canal. Qing Dynasty, 1770. Ink and color on silk.

Fig. 1. 3. 15. Graphic detailing isometric perspective in scroll image.

Fig. 1. 3. 16. Supergiant Games, screenshot from Transistor, 2014.

Linear Perspective

Fig. 1. 3. 17 a. The Baptistery at Florence, Italy.

1. 3. 17 b. Brunelleschi’s proof of the accuracy of linear perspective.

Fig. 1. 3. 18. The Effect of Convergences. Edith Hayllar, A Summer Shower, 1883. Oil on Panel.

One-point Perspective

Fig. 1. 3. 19. Applying one-point perspective technique.

Fig. 1. 3. 20. Use of one-point perspective. Masachio. Fresco.

Two-point Perspective

Fig. 1. 3. 21 a. Raphael, The School of Athens, 1510 -11. Fresco. Vatican City, Italy.

Fig. 1. 3. 21 b. Applying two-point perspective. Detail from Raphael, the School of Athens.

Fig. 1. 3. 22. Cone of Vision.

Three-point Perspective

Fig. 1. 3. 23. Three-point perspective, bird’s eye view. M. C. Escher, Ascending and Descending, March, 1960. Woodcut.

Fig. 1. 3. 24. Albrecht Dürer, Draftsman Drawing a Recumbent Woman, 1525. Woodcut.

Foreshortening

Fig. 1. 3. 25. Wonder Woman, Superman, and Batman. Pages from Trinity, Volume 1.