Art 115

nevver: For dessert, The Velvets This photograph is mostly comprised of oranges and dark blues and blacks.  There isn’t much of a focal point, which makes the degree of definition somewhere towards the center of the photo.  The front is fuzzy, as is the rear.

nevver:

For dessert, The Velvets

This photograph is mostly comprised of oranges and dark blues and blacks.  There isn’t much of a focal point, which makes the degree of definition somewhere towards the center of the photo.  The front is fuzzy, as is the rear.

(via ofpressures)

I really love this landscape, because of the delicacy of the brush work.  But also because of the physical texture built up with the paint that is evident just in this photograph.

I really love this landscape, because of the delicacy of the brush work.  But also because of the physical texture built up with the paint that is evident just in this photograph.

(via upwiththesun)

nevver: Jimi Hendrix, Moebius Moebius’ limited palette with the shock of yellow/orange/red flame in the middle of the figure, as well as the tip of the hat feather in red and the shoes in red keeps this from being a dull purple composition.  The reds are on the more orange-y side, as well.

nevver:

Jimi Hendrix, Moebius

Moebius’ limited palette with the shock of yellow/orange/red flame in the middle of the figure, as well as the tip of the hat feather in red and the shoes in red keeps this from being a dull purple composition.  The reds are on the more orange-y side, as well.

The red in the mid-ground of this photograph is quite a shock, considering that the dusty ground and jutting cliff are also composed of warm tans and oranges.  I think it is because it is a rather cool red on the building.

The red in the mid-ground of this photograph is quite a shock, considering that the dusty ground and jutting cliff are also composed of warm tans and oranges.  I think it is because it is a rather cool red on the building.

(via endlessme)

ikilledjackjohnson: Félix Vallotton I really love the way the transparency of the water is portrayed in this painting.  You can see the figure on the left’s legs disappearing into a more opaque blue at the bottom of the painting.  Also, the dramatic lighting casts large shadows on the nudes.

ikilledjackjohnson:

Félix Vallotton

I really love the way the transparency of the water is portrayed in this painting.  You can see the figure on the left’s legs disappearing into a more opaque blue at the bottom of the painting.  Also, the dramatic lighting casts large shadows on the nudes.

ikilledjackjohnson: Diane McDermott This illustration by McDermott uses light, and white to show the volume and gravity of each part of the composition. The light gives girth to the sausages, and definition to the runners muscles.

ikilledjackjohnson:

Diane McDermott

This illustration by McDermott uses light, and white to show the volume and gravity of each part of the composition. The light gives girth to the sausages, and definition to the runners muscles.

ikilledjackjohnson: Typographical illustrations by Alvin Lustig These colors and lines move the eye in a vibrating fashion, and the use of positive and negative space is enhanced through the addition of the red, instead of just having a black and white composition.

ikilledjackjohnson:

Typographical illustrations by Alvin Lustig

These colors and lines move the eye in a vibrating fashion, and the use of positive and negative space is enhanced through the addition of the red, instead of just having a black and white composition.

ikilledjackjohnson: La doping, illus. Peter Wyss The placement of the figure over a primarily dark, black background makes the light colors of the bicycle and its tires pop, as well as the body of the cyclist, and its yellow/orange tones.

ikilledjackjohnson:

La doping, illus. Peter Wyss

The placement of the figure over a primarily dark, black background makes the light colors of the bicycle and its tires pop, as well as the body of the cyclist, and its yellow/orange tones.

ikilledjackjohnson: from Arm in Arm (A Collection of Connections, Endless Tales, Reiterations, and other Echolalia) by Remy Charlip, 1969 This collection of compliments moves along the saturation scale, yet keeps the visual impact of the colors.

ikilledjackjohnson:

from Arm in Arm (A Collection of Connections, Endless Tales, 
Reiterations, and other Echolalia) by Remy Charlip, 1969

This collection of compliments moves along the saturation scale, yet keeps the visual impact of the colors.

(via ofpressures)