Space

  Space

When we are composing images we are dealing with the division of surface, as well as the illusion (or interpretation of 3D space).  It is important to note that the division of surface, or 2D space is very important within the illusion and design of 3D space.  That is why I put so much importance on Matrix.  Your Matrix is your 2D plan of surface division.  2D design comes up regularly while we are dealing with capturing the illusion of 3D space and is why there is so much study and research into cannons of proportions and mathematical solutions to surface division.  

We have to juggle these two aspects of design with any image.  The end result can be quite different.  Some images might lean heavy on surface division and we might consider that to appear more graphic.  On the other hand we might lean towards illusion where we realize a greater appearance of spatial depth.  

Common problems:

When we are focusing on illusion we can sometimes become too focused on the subject, textures and rendering of individual objects within the image.  At this point we tend to lose or disregard our awareness of the total.  Ultimately we can lose the strength of our design.

If you are using the impact of rendering or in some cases adding more detail in specific areas of your image to bring focus to that area consider deleting the words "rendering and detail" and replace them with this concept.

"We will most often be drawn to the area of an image which has the highest concentration of small, contrasting marks".

We can depict the illusion of space in infinite ways but we can achieve greater visual clarity and support the clarity of our image message by establishing your approach to space through these basic aspects of space.

Flat Space

Limited Space

Deep Space

Ambiguous Space

Cubist Space

Of course we can combine any of these spatial characteristics within any composition as long as we are establishing clarity as to their use.  You could have for instance an image with predominantly flat or limited space while depicting another specific area of deep space within it.  Although the difference of handling of space needs to remain clear.  If spatial relationships are blurred, or ambiguous you will achieve a poor visual read, or if you are creating visual contradictions purposely within your image you would creating an ambiguous space situation.

In film you could assign one aspect of space to a place, character, situation, mood, etc. while assigning another place, character, situation, or mood etc..  Each different handling of visual space will create a different impression of space for the viewer.  Depending how you attach your use of space with the story you are telling  can offer a deeper direct experience or offer subtext to your story.

2D Division of Space Surface

Our other visual components add to or heighten the affect of these different interpretations of space.  In Tone, hi contrast comes forward and low contrast recedes.  Light or dark objects can come forward in space depending on if something is artificially lit  atmosphere, above or below the surface of water these will react different.  If we want to use tone to add to the effect of Flat Space we might keep high contrast throughout space.  Where as in Deep Space we would change the contrast level as we recede.  And we would not just invert tonal contrasts in foreground and background but confuse the viewer spatially.  Shapes, Rhythm, movement, and color can all effect space.

Aerial Perspective

The most commonly used manner of creating  spatial depth painting outdoors is through the use of adjusting values to mirror aerial perspective.  The appearance of aerial perspective can be achieved by maintaining high contrast in the foreground area and diminish contrast exponentially in depth while bringing the overall value towards the value of the sky at the horizon.  The rate of change in depth will determine the density of the atmosphere.  And the amount of clarity in detail will diminish as well, again determined by the density of the atmosphere.  The more overcast the more rapidly the detail and value contrast will change.  Color will also be affected in spatial depth depending on the direction and color of the light source, color of the sky, and level of atmosphere blocking the sky.

Underwater

Since air is approximately 800% less dense than underwater the condition to illustrate depth underwater is different.  Underwater contrast and detail reduce much more rapidly and the overall value will vary based on the light level at that depth, and resolve toward that one value.  Color underwater will change as well.  Under natural light in fairly clear water we experience a severe drop in hue and the saturation of various hues past 20 feet deep.  Hue will recede to the same hue as the distant water.  If artificial light is introduced underwater, chroma is reintroduced within the beam and diminishes to monochrome rapidly in depth and outside the beam.

Interior Light

Interior light can vary based on if it is artificial (lights, candles, fireplace etc.) or if it is a natural direct, or indirect ambient light (like a north light in the northern hemisphere, or ambient southern exposure in the southern hemisphere.  In these case, light will recede to darkness.  Theatre artificial stage lighting tends to work this way, with contrast and focus upstage, and fade back into the appearance of darkness downstage.

Theatrical Lighting

We can also break the concept of aerial perspective and interior lighting by contriving the light condition that will prevail in the foreground, mid-ground, and background by thinking of them as separate groups.  You can maintain clarity of spatial depth through grouping your values and range of contrast discretely within each area.  This is one way we can use value groups to direct the viewer into a specific spatial depth.

From Fast and Furious, this is a flat space composition with lines painted on the street down the center of fame, along with outer lines and  forms of the K rail (in green) are both slightly curved and more dynamic than the cars and safe (in magenta) which are flat to the picture plane.

Passages open up spatial depth by opening up shapes or tilting surfaces or planes to transition from one focal depth to another.  Here are some simple examples of closed and open passages.  The definition of planes works in the same manner of moving or transitioning from one spatial depth to another.

Spatial Variations

There are various aspects of pictorial space, all of which can be useful to you in telling a more compelling story with your images.  It is really important to understand the differences and make a habit of giving space conscience thought as you craft your story, plan your frames or design your paintings.

On one hand there is the division of the surface which we might consider 2D division of space.  The characteristics here are overlap and size relationships.  But these are not the only ways to create illusion of space.  Some images use Flat, Limited, Deep, Ambiguous, or Cubist space express illusion of space.  And like all other visual components these types of space are not mutually exclusive.  Which means there can be more than one type of space depicted within any image.  The type of space you choose to depict your idea can add to your image message greatly or it can create contradiction, tension and or confusion.

Our other visual components add to or heighten the affect of these different interpretations of space.

In Tone, hi contrast comes forward and low contrast recedes.  Light objects can come forward and dark recedes, and depending on atmosphere, above or below the surface of water these will react different.  If we want to use tone to add to the effect of Flat Space we might keep high contrast throughout space.  Where as in Deep Space we would change the contrast level as we recede.  Shapes, Rhythm, movement, and color can all effect space.

Flat Space

Deep Space

This image has a strong vertical orientation where we see characters and architecture creating a sense of rhythm or timing from left to right.  This image also has two seated figures, and clearly if they are not the subject they are the cause of of the subjects reaction.  Graphically pay attention to the diagonals in the red gowns above and the girls arm and direction of her dress below these seem very obvious because they they are different from the very vertical division of space and move in the similar direction and are the most dynamic shapes in the image.  The contrasting diagonals to these are created by the axis and leg of the laying dark figure and the diagonal shapes on the fur carpets.

This image above by Archipov is also divided vertically into three major areas.  The left from the edge to the front of the left woman.  This area has less tonal contrast than the middle section that continues to the right side of the window and down along the yellow scarf.  This area has the largest area of light values, and the third area which extends to the right side again has less really light areas of contrast.  All four women facing one another creates a dynamic closure.  Our focal area is the space between them and we move about their intimate space in the center section.  

Multiple space within one image to create contrast of space and bring focus to one element of the composition.

Cubist space

There are various aspects of pictorial space, all of which can be useful to you in telling a more compelling story with your images.  It is really important to understand the differences and make a habit of giving space conscience thought as you craft your story, plan your frames or design your paintings.
On one hand there is the division of the surface which we might consider 2D division of space.  The characteristics here are overlap and size relationships.  But these are not the only ways to create illusion of space.  Some images use Flat, Limited, Deep, Ambiguous, or Cubist space express illusion of space.  And like all other visual components these types of space are not mutually exclusive.  Which means there can be more than one type of space depicted within any image.  The type of space you choose to depict your idea can add to your image message greatly or it can create contradiction, tension and or confusion.

Flat Space

Limited Space

Like the portrait by Phil Hale at the top of the page, here is an example of the artist using the composition to deliver subtext about the sitters.  Sargent has created shapes that have direction.  These shapes and their directions lead our eyes through the images, directed by and orchestrated by the artist. 

In this painting of the Boit Daughters we can see that Sargent divided his 2D space into thirds.  Also notice, the youngest daughter is positioned just inside the third vertical line and her head does not lay on these or the diagonal axis.  Not that it needs to for any reason but it is important to note that by doing so he creates a subtle  visual tension, explained below in leveling and sharpening.  The strong red triangular shape of the screen on the right prevents the scene from being static by having two symmetrical vases bordering the doorway, it serves as an arrow that points down toward the center directional line of the little girls shadow, (the directional line is not a physical line but an implied line in the direction of the force of the shadow shape) and continues in line with her dark stockings and dolls dress.  This line, and rhythm continues to the left shoe of the blond daughter on the left and up her shadow side.  These two girls are the key compositional figures within this painting because they're positioning creates a degree of tension more than the others, and they are in the front room.

In this Wyeth painting below called Christina's World the spatial relationships do not include longitudinal lines other than the subtle road and fence going to the house from off screen right.  The visual tension is created by the closure between the focal points of the house, the barn, and Christina.  Christina is disabled and disfigured and this baron field is the range of her entire world, all contained within the area of closure.  The worked area of the field has a clear boundary and Christina being outside it and the closure encompassing it creates another layer of depth.

Thomas Moran painted this painting with multiple focal points.  It's a huge painting at the Autry museum and represents the philosophy of the Hudson River School.  Their paintings expressed the wild beauty of the vast untamed wilderness which romanticized expansion.  Creating a composition that has multiple focal points almost montage like seem like a creative and honest depiction of the artists intentions.

Here is an example of aerial perspective.   The overlapping of shapes going into the distance helps in realizing the tonal contrast that occurs as objects recede in space.  Generally they have less contrast and take on more of the color of the sky at the horizon.  Saturation is also affected.

Ambiguous Space

The images below are from the German Expressionist film The Cabinet of Dr Caligari.

This photograph has a very interesting treatment of space because the bridge being flat to the picture plane in contrast to the layout of the canals diverging in a reversed perspective, the wedge building in the center, and the addition of the painted bulkhead in the gondola of another canal.  So this image holds multiple depth queues and creates the illusion of ambiguous space.

Staging and Movement

Here are some examples of a workbook for Iron Giant.  THESE ARE NOT STORY BOARDS!  They should not be mistaken for story boards, the information delivered through these pictograms is information for layout and camera.  This is a pass done after the story boarding process.  All the expressive story boards have been sent to editorial and cut based on the dialogue and expression.  This document is addresses the staging and how the camera will work.  This pass was extremely useful because it allowed the story artist to focus on the performance while the layout artist would focus on the cinematography, composition and camera movement.  Lighting and color are all also very important components impacting a films continuity and depth of its visual communication.  2D spatial relationships as well as 3D illusionary space need to be considered concurrently.

Iron Giant Sequence 35