2. How can I make her feel less overwhelming and more huggable? How can I keep her large but give Little Red Riding Hood prominence in the picture?. BUILDING A PICTURE. We see shapes in context, and our reactions to them depend in large part on that context. If this were an illustration for a story about the. “We see shapes in context, and our reactions to them depend in large part on that context” (10). • If Bang were writing a story about the ocean, the red triangle.
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stability. The same triangle placed on a diagonal gives a sense of movement – whether we see it as a triangle teetering on one point, about to fall back. Author: Molly Bang Pages: 96 Publication Date Release Date: ISBN: Product Group:Book Read here. Picture This: How Pictures Work [Molly Bang] on terney.info *FREE* shipping on qualifying offers. Molly Bang's brilliant, insightful, and accessible treatise is.
I need to make room for the wolf…. Why not?
How can I make the trees feel more threatening? Diagonal lines give a feeling of movement or tension to the picture. I feel very differently when the wolf is made much smaller,. What else does the wolf need in order to look more wolfish? What happens if the eye is made exactly the same color and shape as Little Red Riding Hood? What feature could I add to the wolf to make it yet more frightening?
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Why not? How can I make the trees feel more threatening? Diagonal lines give a feeling of movement or tension to the picture. Why do these triangles look so scary? I feel very differently when the wolf is made much smaller. What are the features of wolves that make them so frightening to us?
What else does the wolf need in order to look more wolfish? What happens if the eye is made exactly the same color and shape as Little Red Riding Hood? The picture feels very different. What feature could I add to the wolf to make it yet more frightening? Why does the picture feel more threatening? When two or more objects in a picture have the same color. What has happened now that the teeth are white?
Vertical shapes are more exciting and more active. If a horizontal bar is placed across the top of a row of verticals. Diagonal shapes are dynamic because they imply motion or tension.
These diagonal buttresses are under great tension. Diagonals in pictures often tie a vertical and horizontal together as a much more stable unit. All of these are diagonals in movement or in tension.
A triangle placed on a flat base gives a feeling of stability. What increases the sense of movement even more in this picture? The same triangle placed on a diagonal gives a sense of movement. The upper half of a picture is a place of freedom. The bottom half of a picture feels more threatened. The addition of each new element can modify the effect of the other elements or even change them completely.
The principles described so far result from gravity's effect upon us and the world and the pictures we look at. The next principles have to do with the picture as a world of its own. What happens when the focus of attention is shifted away from the center of the page?
The edges and corners of the picture are the edges and corners of the picture-world. White or light backgrounds feel safer to us than dark backgrounds because we can see well during the day and only poorly at night. With an object or a hole centered in the middle of the page.
What things in nature are either black or white?
We feel more scared looking at pointed shapes. We associate red with blood and fire.
The larger an object is in a picture. Curved shapes embrace us and protect us. How do you divide them? The same figure appears much more vulnerable if it is made very small. The teacher asks you to separate all of these shapes into two groups of similar elements. We associate the same or similar colors much more strongly than we associate the same or similar shapes.
How do these two sorts of patterns make us feel?
We exist outside the picture until… The picture contains a space all its own. We notice contrasts. Space isolates a figure.
The movement of the picture is determined as much by the spaces between the shapes as by the shapes themselves. Space implies time. Wide space can create tension between the divided objects.