By Bruno Ernst
Describes the equipment that are used to build interesting very unlikely figures which could tease the attention and baffle the mind's eye. Copious examples are drawn from the author's personal paintings and the fertile mind's eye of Escher and Oscare Reutersvard.
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Additional resources for Adventures with impossible figures
Once you do, also note the presence of the important line in the photograph on the left-hand page— the bright white line of the wooden palette on the worker’s shoulder—and how it relates compositionally to the heavy red line on the right-hand page. indd 45 1/14/14 5:04 PM 12/20/13 10:26 AM TEXT (F39)_Job:12-40337 Title:RP-Design Elements 2nd Edition 01-AC70319 #175 Dtp:160 Page:45 CATEGORIES OF FORM Two lines joining create an angle. The joint between two lines becomes a starting point for two directional movements; multiple joints between lines create a sense of altered direction in one movement.
NIKLAUS TROXLER DESIGN SWITZERLAND No matter how complex a representational form may seem, a designer must analyze and distill its true formal essence so as to understand how to work with the form in compositional space. The ﬁsh in the spread at far left is not a ﬁsh—it is a triangle. The leaves in that spread are not leaves— they are ellipses or, more fundamentally, diagonal lines, as are the hands in the spread at near left. BRUKETA+ZINIC CROATIA hat tion of er. 9/13 3:10 PM 0/13 10:26 AM tion e:38 Line contrasts with texture, organic cluster contrasts with geometric text, and large elements contrast with small in this promotional poster.
That’s not to say that a web page should be designed to look like a book—it’s not a book. But there is a kind of ﬂatness inherent to the screen, and the light it gives off tires the eyes more quickly and is sometimes perceived as cold. Even a subtle, monochromatic, texture or pattern, used as a background or within a navigational header, can enhance perceived dimensionality and warm up a site’s feeling. Physical textures or patterns also may be used for conceptual reasons—to suggest a connection with real-world experience.
Adventures with impossible figures by Bruno Ernst