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Old 07-23-2005, 05:58 PM   #16
Kirt
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Nerfie - Book recommendations for diagonal theories? Hmmm ... I'll have to dig through my collection and see where it's discussed. I actually learned this stuff from my HS teacher (thank you Mr. Murphy for all your time and wisdom!) and I don't recall reading about it in a book.

Sorry, I'll see if I can't find some more information for you.
 
Old 07-23-2005, 06:52 PM   #17
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Kirt, this is an interesting interpretation of the underlying geometry of the painting. Thanks alot

Geometry defines order. It is always very useful to be able to disect things into geometrical entities and relationships. They are good for controlling and evaluating the composition. In 3D design, i.e. architecture, this becomes even more useful, as directionality and intensity become more sensitive to the overall form. What makes it more difficult, is the multidimensional aspects of geometry to adhere to certain functions.

The problem with geometry, is that it lacks the ability to connect subjects to objects under one structure. I think it is simply by definition, an abstract representation!!

Personally, I use different metaphor for that connection, while geometry is part of its constituents. That metaphor is "streams of energy" which could represent intensities, static & dynamic, light and matter, events & people, sensation and perception, as well as complexity and disorder, and most importantly TIME.

Diagonal theorm, includes directionality but no magnitude. It is basically a door step into the world of composition, which could be applied not only to painting, but to theatre, music, architecture, poetry, calligraphy, and most other audio/visio arts. Essentially, it is natural in our perceptions.

----
Oh, did I say that this was the most valuable lesson so far on this forum, well done Kirt !

Last edited by ashakarc : 07-23-2005 at 06:56 PM.
 
Old 07-23-2005, 07:03 PM   #18
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Thanks for showing how this can be done!

Only with the bird I had the feeling that it should be in empty space sucking in the attention.

I've got a lot to learn...


edit: The more I run over the posiibilities the more I find now. Makes a lot of sense now to use diagonals for compositions. Glad this came up, thanks again.
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Last edited by jmBoekestein : 07-23-2005 at 07:15 PM.
 
Old 07-24-2005, 03:58 AM   #19
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great tutorial. it helps when you really think that something doesnt work in your image. although, sometimes the diagonals just come naturally and you dont really do it on purpose. i mean, when youre sketching, you dont always say to yourself, ok, i've got one flowing this way, then it'll come up here so this is what i'll draw, and then i wanna make them see this, so i'll just draw this curve here, blahblah. no. i dont think ppl really do that. it just comes naturally. however, if it doesnt work, the 'flow' is broken, then i'm pretty sure ppl will go back and check if its their diagonals that are not right. thanks for this.
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Old 07-28-2005, 06:27 PM   #20
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Maybe of use.

I was getting the lines right for a portrait and figured I needed more tension. Based on what I know of human perception and the world around I figured that diagonal and weight points of an image could be spread along paraboles (sp?) and/or circualer shapes cross secting eachother.
Since everythnig around us actually moves in a more or less curved fashion, or around some hinge point, it should only be logical for the mind to create curvatures from diagonal 'tension' and 'energies'.

It seems to make nice balanced 'equations', heh. I'm trying to work with three or four of them at a time. They stretch through cross sections of diagonals or weight points of the diagonals. I think it works, or I'm indulging myself too much.

Any thoughts on this anyone?

edit: I'll try and make an example later on. Mght help to see what I mean.
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Last edited by jmBoekestein : 07-28-2005 at 06:33 PM.
 
Old 07-28-2005, 06:27 PM   #21
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