SPACE

Group 6
Lorenz Andrew Baguio
Juniscille A. Malabag
Mary Brocklaine Manzo
Rennzo Enriko Mariano

Schedule:
HUMN 1 MW 10:30-12:00
I. Definition

An element of art, space refers to distances or areas around, between

or within components of a piece. Space can be positive or negative, open or
closed, shallow or deep, and two-dimensional or three-dimensional.
Sometimes space isn't actually within a piece, but the illusion of it is. (Esaak,
2017)

Art elements placed far apart can emphasize the extent of space
between them. As elements of a work get closer to each other, they more
distinctly define the space between them, emphasizing the shape or volume
of the space, which can in turn create interest. As the space between shapes
or forms shrinks even more, visual tension builds between them as they
near touching, which can be more interesting than if the shapes/forms do
make contact. (Flye, 2011)

As a rule of thumb, in an image of a person moving or gazing to one

side, it can be beneficial to place the person to one side of center and allow
them the larger space to move or gaze into: otherwise it might appear that
the figure is staring at the edge of the frame, or about to run into it. Gazing
or running toward or off the edge of the frame can be used to make the
viewer think about what is happening outside the frame, unseen. Likewise,
largely unpictured elements reaching into the frame can make the viewer
think about more than what is shown, and spark/leave room for imagination.
(Flye, 2011)
II. Uses and Function

- Overlapping objects - An object that overlaps and partially blocks the

view of something else immediately tells us that it is in front of that other
thing. Multiple overlapping objects can create greater depth - a person in
front of a car in front of a building in front of a country landscape. (Flye,
2011)

- Size - Objects that are farther away appear smaller: they fill up less of
the viewer's angle of view. Human figures, though roughly the same size,
diminish the farther away they get; a distant mountain can appear tiny
compared to a nearby hill. Everyday things such as human figures,
vehicles, houses, etc. of known size can be used to give the viewer a
sense of both scale (how big everything else is) and depth. (Flye, 2011)
- Level Of Detail/Focus - The more distant an object, the smaller it
appears, and consequently the less detail we perceive. Depicting more
detail in the foreground and less in the background can help create a
sense of depth. Too much background detail can flatten an image and
distract from the subject. Rendering the most detail in the foreground is
not always desirable or necessary to create depth.

- Placement on the paper - Objects placed higher within the picture plane
will appear further away. (Fussel, 2017)
- Color - Objects that are further away are cooler in color temperature,
while objects that are closer are warmer. Objects that are further away
are lighter in value, while objects that are closer are typically darker in
value. (Fussel, 2017)

- Linear and Curvilinear Perspective - A system of drawing used to show

objects receding in space in the same manner we perceive them in three
dimensions. The basic idea is that objects appear smaller as they recede,
and therefore parallel lines will appear to grow closer and meet as they
reach the horizon (at their vanishing point). Common types of linear
perspective include one point, two point, and three-point perspective,
referring to how many axis or directions each object is shown to recede
to. There is also four, five, and six-point perspective systems, which are
curvilinear and can be used to create fisheye views. (Flye, 2011)
III. Kinds of Space

 Positive Space - is the area or

part of the composition that
an object or subject occupies.
It is usually the main focus of
the painting, such as a vase of
flowers, fruit, or candle in a
still life. (Bernard, 2016)
 Negative Space - is that empty or open space that surrounds an object. It
helps to define the object, gives it some breathing room to prevent the
painting from being too crowded and has a huge impact on how the art
piece is perceived. (Bernard, 2016) Without negative space, the positive
would have no meaning. Another way of thinking about the relationship
would be by comparison to the leading lady in the ensemble cast. She can
only be referred to as a lead in relation to the group. Without the group,
she no longer has a role as a lead. (Roberts, 2012)

IV. Why is negative space so important?

- It can add interest and is an excellent way to draw attention to your

works of art. A good balance between great negative space and intrigue
will cause the viewer to desire more time looking at your work of art.
(Bernard, 2016)
- It can draw the viewer in giving them a sense of inclusion because they
discovered a subtle hidden message or image in the composition. Even
though it may be a simple composition, great negative space reveals
there is more to the piece than first meets the eye making it a more
rewarding experience for the viewer. (Bernard, 2016)
- It gives the eye a “place to rest,” thereby adding to the subtle appeal of
the composition. (Bernard, 2016)

V. Tricks of Perception

Positive and negative space are two parts of visual organization that
frame the watcher's view of optical figments. Optical deceptions are traps of
observation in which the picture that one sees, that is the picture made in
the mind, varies from the items as they exist in genuine space. Delineations
and photos that portray optical dreams attempt to trap the mind into seeing
spatial measurements uniquely in contrast to the way they really show up.

VI. Examples
VII. Quiz
Numbers 1 to 3 is True or False Quiz. 4 and 5 is Enumeration.
1.) The space gives the viewer a reference for interpreting an artwork.
TRUE
2.) The positive space helps to define the object or subject of the art.
FALSE
3.) Is it true that a good balance between great negative space and
intrigue will cause the viewer to desire more time looking at your work of
art? TRUE
4.-5.) Two Kinds of Space (Positive and Negative Space)

VIII. Sources

Bernard, T. (2016, April 22). Teresa Bernard Oil Paintings. Retrieved from
teresabernardart.com: http://teresabernardart.com/tag/negative-
space/

Esaak, S. (2017, November 7). ThoughtCo. Retrieved from

https://www.ThoughtCo.com: https://www.thoughtco.com/definition-
of-space-in-art-182464

Flye, R. (2011). flyeschool.com. Retrieved from flye school:

http://flyeschool.com/content/space

Fussel, M. (2017). The Virtual Instructor. Retrieved from

http://thevirtualinstructor.com:
http://thevirtualinstructor.com/space.html

Roberts, I. (2012). Rules of Visual Composition. RUles of Visual Composition.