Visual Problems in Illusion of Motion

Introduction:

"Our world is a world of movement. Almost every aspect of life involves constant change. We humans cannot sit or stand motionless for more than a moment or so; even in sleep we turn and change position. But if we could stop our body movements, the world about us would still continue to change." —Design Basics, Chapter 11

Application:

The following exercises and project are designed to give the student both short-term and long-term experiences in creating illusion of motion. Four individual exercises require students to focus on specific ways of creating this illusion: anticipated motion, figure repeated, figure cropped, blurred outlines, and multiple images. One culminating project encourages students to synthesize various methods visually suggesting motion. Students render their illusion of motion projects in a professional manner with media used in the field of design, including the computer. The final results are critiqued by their classmates and by their instructor.

Traditional Media

Draw an image, usually recognizable, from a photograph or memory which represents anticipated motion. An attempt to have certain elements in the picture fixed to the edge of the composition while others exist in open space is encouraged. The imagery can be sketched on a regular drawing paper, approximately 9"x12". Then "tracing" is placed over the image to do the finished rendering. Rendering is done with markers to facilitate a quick result. It is possible to use any one of a variety of papers which accept marker inks, i.e., layout, tracing, and marker. Each type of paper produces unique results.

Choose either the method of figure repeated or figure cropped to create an illusion of motion. With figure repeated, a sequence of images and formats can be used to create an illusion. In figure cropped, a close-up view in a dynamic pose with movement is important. Again, markers and suitable "marker paper" are effective media for rendering this exercise.

Draw an image, realistic or abstract, in which the technique of blurred outlines is used to suggest motion. Once the imagery is sketched, a tracing paper, 9"x12", is placed over it. The rendering is done with markers and rubbing alcohol with a queue tip to blur outlines in marker renderings.

Using a sketching paper (9"x12"), draw a multiple image design which suggests motion. Multiple images which start at one point and progress to another is one good way to achieve the desired effect. Markers on tracing, layout, or marker paper are recommended surfaces on which to do this exercise.

Electronic Media

Choose a color photograph which exhibits anticipated movement and scan it into the computer with Photoshop. Next, design a composition utilizing the scanned photograph which emphasizes this way of suggesting motion. It is possible to crop, re-compose, or add elements to make it work most effectively. Print the results and compare with other student work.

Design two or three figures which can be repeated by using the "copy" function in Photoshop. By "pasting" figures repeatedly into an effective sequence, one can develop a strong suggestion of motion. Results should be printed and compared to other student examples.

Draw an image, realistic or abstract, which can be manipulated in Photoshop. It can be drawn on traditional paper and scanned into the software or it can be drawn directly into Photoshop. In any case, the assignment is to blur the edges of the image to create "blurred outlines" effect. This can be done most easily with the "blur" tool in Photoshop.

Draw multiple images in a design to suggest motions. Multiple images which start at one point and progress to another is a good way to achieve the desired effect. Adobe Illustrator is particularly useful here because the "gradient" tool can create a sequence of figurative movements by identifying a starting and a finishing point.

Project:

Goal: To create the illusion of motion utilizing one or two of the ways of suggesting motion outlined in the text.

Materials:

A. Traditional design media that will be employed in the execution of this project.

Tracing, layout, or marker paper (approximately 9"x12").

Assortment of designer markers (or acrylic paint).

Rubbing alcohol.

Other marker solvents, papers, and materials to render the project.

Matte board to frame the composition.

B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project can be designed and rendered either with traditional media or electronic (computer) software. It is also possible to mix traditional and electronic media. For example, a student could use traditional media in drawing original images and utilize Adobe Illustrator to create multiple images for use in the project.

Guidelines:

A strong sense of suggested motion is to be created by using one or two of the four ways of achieving illusion of motion (see "Application"). One may be the emphasis.

Compositional factors such as cropping the image, leaving open space following the direction of the suggested motion, and balancing visual weight of various compositional elements should be considered.

Project is to be rendered in acrylic paint on illustration board or electronic media.

Chapter 12. Value

Assignment 1. Read the text of Chapter 12 and do the following:

1. Define value and discuss its uses.

2. Discuss the difference between value and color and their various functions in design.

3. Define achromatic

4. Create and use crosshatching to create three-dimensionality in a drawing.

5. Define and identify instances of chiaroscuro.

Assignment 2. Oral Quiz. Express your views working in groups (see Glossary below).

Discuss the development of the use of dots as a form of communication in today's society. How and where they are used. Discuss some of the ways that dots were used in previous art styles.

Glossary

Achromatic Black, gray, or white with no distinctive hues.

Aerial perspective The perception of less distinct contours and value contrasts as forms recede into the background. Colors appear to be washed out in the distance or take on the color of the atmosphere.

Chiaroscuro The use of light and dark values to imply depth and volume in a two-dimensional work of art.

Chromatic Relating to the hue or saturation of color.

Cross-hatching A drawing technique in which a series of lines are layered over each other to build up value and to suggest form and volume.

Mixed media The combination of two or more different media in a single work of art.

Shade A hue mixed with black.

Tone A hue mixed with its complement.

Value A measure of relative lightness or darkness.

Value emphasis When a light and dark contrast is used to create a focal point within a composition.

Value pattern The arrangement and amount of variation in light and dark values independent of any colors used.

Wash Drawing where dark ink or watercolor are mixed with water to produce shades of gray.

Assignment 3. Do the tutorial quiz

1. True or False: Form reveals light.

a. True

b. False

2. True or False: The average human eye can see 40 different values.

a. True

b. False

3. True or False: Value pattern is often used in reference to paintings.

a. True

b. False

4. True or False: You can use value patterns to create an emotional response.

a. True

b. False

5. True or False: Pictures using closely related values are calm, quiet, and relaxing.

a. True

b. False

6. True or False: Pictures that use an extreme range of value suggest drama, excitement, and conflict.

a. True

b. False

7. True or False: Overall darkness creates a feeling of sadness, depression, and mystery.

a. True

b. False

8. True or False: Strong light and dark contrast do not create a focal point.

a. True

b. False

9. True or False: A starting point can create a visual emphasis.

a. True

b. False

10. True or False: One can emphasize a thematically important character or feature by value contrast.

a. True

b. False

11. True or False: 3-dimensional form can be suggested by value difference or shading.

a. True

b. False

12. True or False: High-value contrast seems to recede.

a. True

b. False

13. True or False: Low-value contrast seems to recede, suggesting distance.

a. True

b. False

14. True or False: With Aerial Perspective or Atmospheric Perspective, things in the distance become grayer and less distinct as distance increases.

a. True

b. False

15. True or False: Cross-hatching must be done with very straight precise lines. It cannot be done with very loose gesture lines.

a. True

b. False

16. True or False: When a work of art's range of values is all light colors it is referred to as High Key.

a. True

b. False

17. True or False: When a work of art's range of values are all dark colors it is referred to as Low Key.

a. True

b. False

18. True or False: Often it is not the choice of what color to use that is important, it is what value of color you use.

a. True

b. False

19. True or False: Every color is at the same time also a particular value.

a. True

b. False

20. True or False: Every value is at the same time also a particular color.

a. True

b. False

21. … are grays that contain no color, just black and white.

22. … is the relationship between areas of dark and light.

23. … are neutral grays.

24. … is the arrangement and amount of variation in light and dark.

25. … can be created by the use of gradations of light and dark.

26. … was created during the Renaissance and is a term used to describe the use of light and dark to imply depth and volume in a painting.

27. … is a set of lines that run horizontally and vertical lines that cross these.

28. … is where dark ink or watercolor are mixed with water to produce shades of gray.

29. The use of … to create shading was used by Georges Seurat and by modern printers. It is also sometimes referred to as called pointillism.

30. The combination of two or more different media in a single work of art is called … .

31. A hue mixed with its complement to create gray is referred to as a … .

Class Project