Distortion in Art: The Eye and the MindRoutledge & K. Paul, 1984 - 143 pagini |
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Pagina 10
... draw a figure as distorted because that is how he remembers his original experience which occurred whilst his vision was ... drawing made under distorting conditions to a well- remembered undistorted model . All these remarks apply to ...
... draw a figure as distorted because that is how he remembers his original experience which occurred whilst his vision was ... drawing made under distorting conditions to a well- remembered undistorted model . All these remarks apply to ...
Pagina 25
... drawing , unlike the realistic drawings which attempt merely to reproduce the light flux deriving from the depicted object without any abstraction being involved . The ability to achieve the former has , therefore , psychologically ...
... drawing , unlike the realistic drawings which attempt merely to reproduce the light flux deriving from the depicted object without any abstraction being involved . The ability to achieve the former has , therefore , psychologically ...
Pagina 110
... drawing pictures and patterns . The greater ease of drawing ensures not only that more figures are drawn but also that artists are more likely to make attempts at drawing unconventionally . Consequently such figures will be used more ...
... drawing pictures and patterns . The greater ease of drawing ensures not only that more figures are drawn but also that artists are more likely to make attempts at drawing unconventionally . Consequently such figures will be used more ...
Cuprins
Representation of isolated figures | 36 |
Composite pictures 1888 99 | 81 |
Patterns | 109 |
Drept de autor | |
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accept Ancient angle animals appear arrangement artist associated background body central characteristic clearly combination complex consisting convey created cues cultural depicted depth depth cues derived described designs detail device difficulties discussion distance distortions drawing drawn effect Egyptian elements elevation entirely epitomic equally essential evoke example experience face figures flux frontal further head horse human illustrated important indicated interpretation involved less light looking manner means Museum nature noted notion object observer occur orientation original outline overlap oxen painting pairs pattern perceptual perhaps perspective photograph pictorial pictorial depth picture placed plane Plate plough portrayal portrayed position possible present probably projection relationships relative represent representation reproduced result reverse seems seen shape shown shown in Figure shows side similar simple space style suggest surface symmetry taken thought transformations turned typical views units variety various viewer visual woman
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Understanding Cinema: A Psychological Theory of Moving Imagery Per Persson Nu există previzualizare disponibilă - 2003 |