Hi Class,
Since I will be out on week 6, (Elbert Gu will be taking over for me that week) I have revised our syllabus for weeks 5 and 6. I have added it on discord as well as here below.
Tonal Space
Examples of Flat Space
This image is an example of flat space because it has no longitudinal depth, only elements flat to the picture plane. The tonal contrast between the foreground and background is proportion. The girls and dock have the greater proportion of dark with high contrast where the background has the greater proportion of light with small bits of high contrast.
Compare the images below with those below them. You can see when shapes within your composition are similar in scale they have a tendency to flatten your depth.
Tonal contrast between foreground mid ground and background also play a part in either making your image even flatter when high contrast is in the background, or create more depth when high contrast appears in the foreground. This is apparent in aerial perspective.
In order to design greater spatial depth it is important to make sure your visual components are working together. Since each component can only be measured within its own category it is possible that they can work against each other producing a less effective outcome.
Overlapping shapes can create depth, but if the shapes are equal in scale the effect is diminished. If the smaller shapes overlap the larger shapes, some visual tension may occur which can create a more dynamic quality and at the same time distract from the illusion of deeper space. When you are trying to create the illusion of deep space you should consider what longitudinal depth clues are present, what type of overlapping of shapes are present, what is happening between the relationships of scale of shapes, and are the tonal contrasts between areas of spatial depth managed to enhance your focal area in space.
The appearance of optical distortion can improve the illusion of spatial depth. Compare the images below, the straight lines makes this boat look very ridged. The slight bending of straights can add to the perception of spatial depth, where literal linear perspective can feel sterile and less appealing. You don't have to make it extreme, nor does it have to follow concentric arcs like a camera lense would tend to do.
Straight lines appear to rigid, without any effect of lens. It is important to note that creating spaces that feel more natural, and lead your eye to the area of focus it is important to provide a level of distortion that at least matches our optical perception. If we view the world through our 22mm to 24mm and f/3.2 to f/3.5 we perceive some distortion and diminishing focus beyond our cone of vision into our peripheral vision. Adapting some sense of distortion near what our eyes perceive, or near the distortion through a camera lens will result in a bending of shapes to a minimal degree. If you look at these two images below the one on the left was drawn with straight lines and the one on the right contains some distortion. The image on the right appears to be more true than the ruled straight lines in the image on the left.
In the painting below by John Singer Sargent we see more deep space clues on the left side of the image than on the right which provides a level of visual tension that contrasts the couple in the frame. Removing the depth clues on the right side allows us to focus on the couple at their depth within the alley rather than the vanishing point just behind the man.
The down shot of the hanging has a dynamic angle to begin with but notice how all of the figures are grouped on the gallows and how the hand rail along the bottom frames them in. The guilty man stands attached to the vertical line (rope), the guard stands attached to the upright column, and the two officers stand separated below.
Overlapping shapes helps to create more spatial depth.
Create space for your characters to act and pay attention to the spatial arrangement of the elements within the shot or composition. As I have mentioned before, Story, Story, Story, that is the most important thing to visually deliver clearly. Understand the subject, the emotional status of this specific moment, who's scene it is and create as much subtext as possible through the arrangement of the space, the lighting, the color, space, and movement.
Pay attention to camera center, whatever appears there is the story you are telling. Notice below the image of the boy reading on the right, opposed to the boy on the left. When we center on the activity the focus appears to be about the boy reading. On the left the boy is featured more than his activity which dilutes the image message of "boy reading" and becomes more about the boy.
Tonal arrangement of Space
In each of the images below look for the management of tonal contrast within the area of focus, relative to the areas of interest and areas of rest. All situations are not solved with aerial perspective. There are many ways to enhance both deep and flat space managing the tonal contrast within different spatial depth areas. Many films use multiple forms of lighting through major and minor keys to deliver their desired visual story.
Look at the brilliant combination of active visual elements that deliver this bleak and somber mood. The approaching storm, darkens the upper frame, the dark spiky overlapping shapes contrast the light horizon, and the flat spatial depth all work together to create the subtext of her view of her life on this rural farm far from what she sings about a life somewhere over the rainbow.
Below is an example of aerial perspective due to the haze in the atmosphere.
In the image below the greater contrast occurs between the dark tree and iron gate compared to the white washed walls and marble capped stairs. Since the buildings are so white and reflect into one another, the contrast cannot compete with the darkness of the tree and fence.
In the image below look at the tonal contrast separation in the foreground under the arch, to the middle ground, and the area in light by the yellow door.
Here is another situation of aerial perspective mixed with high tonal contrast of local values. When they become too equal and broken up the image can become quite chaotic.
See How Sarolla has simplified the tonal arrangement of spatial depth in this limited space image.
Compare these two images from To Catch a Thief. The first image of the man on the roof shows how he evades the police, yet claims he is innocent of being the cat burglar. In the second darker silhouetted image that occurs at the climax the police below believe they got their man right where they expected him!
Tonal Contrast and Ambiguous space
Scale of shapes may clash, and cause visual tension. Overlapping shapes can flip making it unclear which is in front and which is behind. High contrast may occur in both the foreground and background, again causing confusion.
Homework
Good and Evil
We will be doing two images, each story moments that contrast one another in the story. They could be where the hero resides and one where the villain resides. They can be interiors or exteriors through which you will use characteristics of both spatial depth and tone to contrast one another. It could be the same place, on the normal and the second when it become taken over, or abandoned, or enchanted.
Six sketches of each will be due on week 6 for review and we will be taking these images to final completion over the following week.
When you are doing your sketches for both images remember:
Begin with your written statement for both good and evil moments! Produce six drawings for each of the two statements. Each six sketches are versions to clarify the same statement, six for the good and six for the evil.
Do not sketch six different stories, stick to your two statements and try to visually express only the two ideas as clearly and interestingly as possible. We will discuss the 12 drawings in class.
