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Archive for the ‘Cropping’ Category

For several days I’ve had a tab on my computer for this image of a recent California wildfire.  I would open this photo, stare at it and feel mesmerized.  What must that be like, to have left these houses or to still be in them? What is the sound of that enormous roaring fire in the proximate distance?  How fast is it approaching?  How terrified these people must be!

After several days of this intense emotional involvement with the scene in the photo, I noticed that I found the photo “beautiful.”  Given the content of the photo, this was disturbing.  So I asked myself if the photo was constructed to have this mesmerizing effect on the viewer. I turned on the part of my brain that does analysis.

What I found was a centrally focused composition.  The houses in the middle of the image, i.e. the human interest, were perfectly in the middle. The house in the middle of this cluster stands out because it is brighter than all the rest.  The hills on both sides sloped perfectly towards the middle of the cluster of houses.

Thus we have a symmetrical composition with human life in the middle. The symmetry makes it static with the message that this is not going to change. Human life in the middle hooks us emotionally.  No wonder this image is mesmerizing.  The composition tells us that this terror of the fire is enormous:  it’s here to stay, permanent without any dynamic that may bring change.

You can be sure that the photographer took dozens or even hundreds of frames on this assignment.  We don’t know if this frame came out as we see it here or if it was cropped to achieve this feeling of terror.  Either way, it was not randomly chosen.

A second example makes this power of composition even clearer.  The firefighter is in the middle of the frame.  Because of the stability inherent in symmetry, he appears to be there forever. This makes his situation all the more hopeless and makes the image painful to contemplate.

You can test this out be cropping and moving him off-center. Now the composition is unbalanced and we feel that he is moving.  He’s in danger but he’s at least not stuck.

Analyzing an image like this does not desentize you to its content.  Not at all. You’re still shocked by the content but you’ve added the awareness of how emotions are communicated visually.

 

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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HoyaCleanMatLine

Look what happened with the sketch we talked about a few days ago.

Two posts ago we said the sketch felt modern because it was unbalanced, incomplete, surprising and edgy.

Now look how the asymmetrical composition –the most fundamental decision the artist made—maintains that modern feeling. Still surprising and edgy!

I think the mat needs to make a clean window, rather than showing the drawing fading out into white paper.

Here it is with fuzzy edges so that you can see what I mean.

Hoya

Stay with this question of edges for a while.  See if you can articulate for yourself why you like one version better than the other.  Is it about your perception of space? Do you feel closer to this scene in one version than in the other?  Do you have a greater sense of “presence” in one version than in another?

See also:

https://artamaze.wordpress.com/2020/07/23/crop-that-plant-and-mat-it/

https://artamaze.wordpress.com/2020/07/16/just-a-plant/

https://artamaze.wordpress.com/2020/07/14/and-now-a-message-from-the-mat/

Drawing by Sunja Kim.  Graphite on paper, 18”x 12”

 

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

www.katherinehilden.com

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Hoya1

Same plant.  More daring.

I call this view of the plant more daring because it’s not centered.

When the object of your gaze is not centered, you’re likely think it is…

not traditional

unbalanced

incomplete

unexpected

surprising

edgy

engaging

modern

Which of these stands out because it contains all the others?

If you say “modern” you might be running a gallery or ready to start one.

If you say “engaging”  your insight goes to the heart of the matter. Because the drawing is incomplete, unbalanced, surprising, etc, you sit up and pay attention. The viewer is challenged to participate in completing the view of the plant.  The art experience becomes a conversation.  That’s how we as moderns relate to art.

This drawing also says “incomplete.”  We see it as a work in progress.  That’s how we experience conversations when we’re in them.

For that reason we want to see the marks on paper as just that, marks on paper.  We can see that more marks may come.  Therefore we want to see the paper as paper with all the sense of potential that that implies: show the unmarked edges when you mat it.   See above.

The sharp edge of the mat, announcing this drawing is finished, conveys a misleading  feeling.  Do you agree?

Hoya1CleanMat

See also:

https://artamaze.wordpress.com/2020/07/16/just-a-plant/

https://artamaze.wordpress.com/2020/07/14/and-now-a-message-from-the-mat/

Drawing by Sunja Kim.  Graphite on paper, 18”x 12”

 

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

www.katherinehilden.com

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http://katherinehilden.wordpress.com

www.khilden.com

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103ClassMOIChardin2

Working on a drawing is a kind of conversation.  It’s an interaction between the artist and her materials, her graphite sticks, erasers, paper texture and size.   When you’re in the process you may not think of it as a conversation because you’re so involved, but later, when you’re asked to verbalize what it feels like, you may analogize it to a conversation.  Then the conversation comes to a conclusion and you call the work finished.

You think you’re finished when your drawing is finished.

But then a whole other conversation starts.  Now the mat has to put in its two cents. It says, here or…here? Do you want to have a clean edge with the mat overlapping the pencil marks (see above) or do you want to show how the pencil marks fade into the blank drawing paper (below)?

103ClassMOIChardin1

You can see that the feeling is quite different.

In class I showed both versions. The consensus was in favor or version two, the pencil marks fading into the blank drawing paper. The students had no difficulty articulating why they liked this version better.

Well, what is the difference in feeling?

The question will come up again, soon.  It’s worth reflecting on with more examples to consider.

 

Drawing by  Katherine Hilden. Homage to Chardin. Graphite and white conté on toned paper, 18”x26”

 

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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CloseUp3email

In 2002 the photographer Barbara Bordnick published “Searchings. Secret Landscapes of Flowers.”  In this large-format book, the close-up photos of flowers measure 10”x14.” They are astonishing. You know it’s a flower and the flower’s name is given.  At the same time you are obviously looking at something other than a little flower–you’re imagining landscape formations or some atmospheric effect.

Georgia O’Keefe, famous for her huge paintings of flowers said, “If you look, really look at a flower, it becomes your world.”

These flower photos make excellent subjects to work from, to practice drawing fluid lines and the shading of round forms.

Here’s a student work in graphite, about 12”x18.”

FlowerLarge

When the color photo is Xeroxed in black/white, it’s easier for the student to see the tonal values, since part of the work has already been done by eliminating color.

CloseUp3BWdrama600

The book is easy to get online and it’s inexpensive. You can also find some of these flower images at

https://www.google.com/search?sxsrf=ALeKk02oupxlpD-j3izaofSkMqzO847GNQ:1593207610303&source=univ&tbm=isch&q=barbara+bordnick+flowers&sa=X&ved=2ahUKEwi1j6ntuKDqAhVFOs0KHQzqA2sQ7Al6BAgCEB0&biw=1536&bih=848

SearchingsBarbaraBordnick_

 

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16septlargedrapepot

Draw a portion of the still life so that your drawing will have a definite shape on the page.  That was the assignment.  I brought in large 20160922_144208textured paper, 30” x 22”, and encouraged everyone to work in charcoal or very soft graphite.

Notice that the pot in reality is big.  Does it have to be drawn big? No.  The pot and the drapery should be drawn in such a way that they sit nicely on the page.  The artist adjusted the size of the pot so that it becomes part of the arc of the composition.

The arc could have been drawn as if floating in space, but the artist suggests some terra firma by putting in a line to indicate a table top.  Notice that the table top line is broken cezanne-sl-applesbehind the pot.  Cézanne plays this game in his paintings all the time. We’re not committed to documenting reality. The goal is to create a lively page.

Drawing by Jeanne Mueller, charcoal on paper, 30” x 22”

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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loopholes

Picture this big, about 48” high.

If this painting were small, say about 12” high, the circles would look like bubbles and you might describe the painting as “cute” and “playful.”  A painting that’s bigger than you is never “cute.”

This painting by Cassandra Buccellato has a playful feeling, granted, but isn’t its play on a conceptual level?

The drips in the underpainting evoke chaos. Chaos is not a little mess, but a big solar system deal.  The circular windows impose order, not a rigid predictable order but some order, a wistful order as in “the best we can.”  The portholes we catch in this frame appear to be of an endless stream, drifting by.  I’m reminded of telescopes and the cans-o-worms they reveal: questions all the way down.

Mixed metaphors?  Well, yes, I’d rather contemplate this visually.

Painting by Cassandra Buccellato, oil on canvas, ~48” x 60”

https://artamaze.wordpress.com/2015/10/19/3288/

https://artamaze.wordpress.com/2015/03/27/finding-order-in-chaos/

https://artamaze.wordpress.com/2015/03/26/order-interrupted/

https://artamaze.wordpress.com/2013/04/09/beyond-realism/

https://artamaze.wordpress.com/2011/06/22/naming-the-abstract/https://artamaze.wordpress.com/2011/03/12/willow-painting/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16draperycolumn

It’s quite startling to see this drawing in the studio/class room where it was produced because at the same time you can also see the pile of cloth and pottery that it was produced from. Before he starts to draw the artist, Linné Dosé, selects a portion of the still life.  What that means is that he sees a coherent unit and deletes everything else from his vision.  This is a skill he has developed by himself and to great effect.

The effect is that an object appears on the drawing paper, very convincing and solid but without any spatial reference. The object elicits a double take.

We read the drapery as cloth (soft) and at the same time as a column (solid).  The pot appears to be heavy and three dimensional and at the same time we can see it’s an incomplete drawing. It’s a play on perception.

Drawing by Linné Dosé, graphite, ~18” x 14”

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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15JanPots

This is how the drawing sat on the page.

You can see that the artist/student, Linné Dosé, has developed a love of composition and form.   The drawing suggests a still life, you know, the usual pottery. But notice, we don’t get details here, no loyalty to the objects, no shadow and reflected-light games.

A work of art tells you how it wants to be looked at. This drawing directs your mind away from literalness.  It says, forget the pots.

Shape, Form, Space!

As it sits on the drawing paper it extends horizontally and that suggests a setting, a certain degree of literalness.

Now look what happens when we crop it to a square.

15JanPotsCropRad

The forms are so much more pure forms.

The square format will do that.  Uncanny.  It speaks to our modern sensibility.

Why would that be?

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16FebArches
These cropped forms suggest some architectural element, with variations. Or, maybe, chair backs. In any case, something well designed, serious and possibly monumental. At the same time, unstable and meaningless. If they are structures, you can see that they lack bracing but are, nevertheless, solid. They’re grand in some way. And there are many of them, this we can infer from the cropping.
This, therefore, is a painting that at first glance suggests clarity of statement. But if you fall for its seduction, you’ll soon chase yourself in circular thinking and you end up not “getting” it at all. This is a good thing. You’re looking at art.
Painting by Harold Bauer. Oil on canvas, ~30” x 24”
16FebArchesFlipNow let’s flip it horizontally. Oh, look! The flipped version seems much friendlier, more accessible. It lacks the gravitas of the original. I would not ponder this version, I would consider it “lite,” a bit decorative, merely clever.
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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