uh... um... i may be getting this wrong (where's Denis when you need him?), but it's a painting trick in which you distort the perspective towards the foreground in order to give the sense of a hand/foot etc coming out towards the viewer.
think of st. peter in carvaggio's painting of thomas seeing the wounds of the risen Christ.
Yes. That is foreshortening. Although this photo isn't really foreshortened, is it? Your knees look a little large, but I thought it was from all the biking.
for it to be foreshortened, I think the hand has to be a heck of a lot bigger. I suppose it is a little. It brings up that drawing of you I did on the couch, where your head is much larger(although you do have a big head).
I should find that christ that isn't forshortened at all....
thanks. that was well explained with a good use of examples to illustrate the concept.
I've seen some Caravaggio and although I usually focus on the use of chiaroscuro, I see what you mean about the foreshortening, now didn't Il Greco also use that same technique? :0
Ahem, Tempted into the discussion of terms by my dear friend and fellow artist, Knackerackerson, I would like to begin by discussing the true meaning of foreshortening, and then go on to differentiate between sfumato and chiaroscuro.
In fact, foreshortening is not an artist's technique, but rather a visual effect or optical illusion. It happens outside of the realm of art (assuming you acknowledge such a thing possible) in the form of any representation or visual perception. When we view an object or space that appears "shorter" (relative to other parts of the same space) than it actually is, we are experiencing forshortening, whether that is in a beautiful painting, or merely looking down the street. It is true that it may be seen in varying degrees and that many artists often exaggerate this effect, but certainly can lay no claim to inventing it. It may be interesting to note that some remote african tribes were exposed to simple line drawings using mostly foreshortening as a way of depicting depth, and they read it as being grossly diproportioned. This is evidence that there are many elements to percieving depth, and learning the meaning of a single part is a learned characteristic.
AS for Chiaroscuro and sfumato... Hehe, just kidding around, here are the dictionary definitions:
chi·a·ro·scu·ro 1. The distribution of light and shade in a picture. 2. Painting. the use of deep variations in and subtle gradations of light and shade, esp. to enhance the delineation of character and for general dramatic effect: Rembrandt is a master of chiaroscuro. 3. a woodcut print in which the colors are produced by the use of different blocks with different colors. 4. a sketch in light and shade.
[Origin: 1680–90; < It, equiv. to chiaro bright (< L clārus) + oscuro dark (< L obscūrus). See clear, obscure]
sfu·ma·to /sfuˈmɑtoʊ/ Pronunciation Key - Show Spelled Pronunciation[sfoo-mah-toh] Pronunciation Key - Show IPA Pronunciation –noun Fine Arts. the subtle and minute gradation of tone and color used to blur or veil the contours of a form in painting.
[Origin: 1840–50; < It, ptp. of sfumare to gradate tone or color, equiv. to s- < L ex- ex-1 + fumare to smoke < L fumāre; see fume]
Actually I can direct you to some good examples on this page. If you scroll down to the picture of Carlos by James "From the Darkness" you can see what sfumato basically looks like (even though this IS a painting term), the photo is soft and smokey so is a good representation of what the techniques might look like in its final form. The countours are not obvious, and the gradations are very subtle. Typically Leonardo paintings are used to show examples of Sfumato, but I figure we've all seen the Mona Lisa (although if you haven't looked at the gentle painting used to make her face it's worth another peek).
Above, the picture of Ren(E with an accent')by Carlos in "Photogenetics" (again if it were a painting) would be a great example of the dramatic lights and darks characteristic of chiaroscuro. Caravaggio is typically used to show obvious chiaroscuro, and it's interesting to note the personality of painting techniques, that is to say, if Leonardo and Caravaggio were to have a fight, Caravaggio seems far more aggressive than ol'softie Leo, and would most likely kick his ass (provided LDV didn't fly away in his fancy helicopter, or use a trebucher =P)
I'll see if I can find a good one for foreshortening. Hope that works for ya =).
caravaggion was used to fighting, as part of his general lifestyle of carousing, gambling, and back-alley shenanigans, so i'm sure he'd kick leo's butt.
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18 comments:
Great picture.
Renée could you be anymore photogenic, sheesh.
:)
i know, it's ridiculous.
nice foreshortening on me there.
what's foreshortening?
uh... um... i may be getting this wrong (where's Denis when you need him?), but it's a painting trick in which you distort the perspective towards the foreground in order to give the sense of a hand/foot etc coming out towards the viewer.
think of st. peter in carvaggio's painting of thomas seeing the wounds of the risen Christ.
oops. make that caravaggio's supper at emmaus.
Yes. That is foreshortening. Although this photo isn't really foreshortened, is it? Your knees look a little large, but I thought it was from all the biking.
heh. yes. the cycling, and the human growth hormones.
i guess the hand is sort of kind of foreshortened... maybe the hand reminded me of supper at emmaus.
i dunno.
for it to be foreshortened, I think the hand has to be a heck of a lot bigger. I suppose it is a little. It brings up that drawing of you I did on the couch, where your head is much larger(although you do have a big head).
I should find that christ that isn't forshortened at all....
There is a mild level of foreshortening, definitely enough so as to not take issue.
Heh.
thanks.
that was well explained with a good use of examples to illustrate the concept.
I've seen some Caravaggio and although I usually focus on the use of chiaroscuro, I see what you mean about the foreshortening, now didn't Il Greco also use that same technique?
:0
oh no, don't bring up the chiaroscuro, or I'm going to have to start talking about sfumato.
Where's Macro? Come on, give the chiaroscuro speech. :)
oooo sfumato, sounds like that discussion would just create a smokey haze...
:)
Ahem,
Tempted into the discussion of terms by my dear friend and fellow artist, Knackerackerson, I would like to begin by discussing the true meaning of foreshortening, and then go on to differentiate between sfumato and chiaroscuro.
In fact, foreshortening is not an artist's technique, but rather a visual effect or optical illusion. It happens outside of the realm of art (assuming you acknowledge such a thing possible) in the form of any representation or visual perception. When we view an object or space that appears "shorter" (relative to other parts of the same space) than it actually is, we are experiencing forshortening, whether that is in a beautiful painting, or merely looking down the street. It is true that it may be seen in varying degrees and that many artists often exaggerate this effect, but certainly can lay no claim to inventing it. It may be interesting to note that some remote african tribes were exposed to simple line drawings using mostly foreshortening as a way of depicting depth, and they read it as being grossly diproportioned. This is evidence that there are many elements to percieving depth, and learning the meaning of a single part is a learned characteristic.
AS for Chiaroscuro and sfumato...
Hehe, just kidding around, here are the dictionary definitions:
chi·a·ro·scu·ro
1. The distribution of light and shade in a picture.
2. Painting. the use of deep variations in and subtle gradations of light and shade, esp. to enhance the delineation of character and for general dramatic effect: Rembrandt is a master of chiaroscuro.
3. a woodcut print in which the colors are produced by the use of different blocks with different colors.
4. a sketch in light and shade.
[Origin: 1680–90; < It, equiv. to chiaro bright (< L clārus) + oscuro dark (< L obscūrus). See clear, obscure]
sfu·ma·to /sfuˈmɑtoʊ/ Pronunciation Key - Show Spelled Pronunciation[sfoo-mah-toh] Pronunciation Key - Show IPA Pronunciation
–noun Fine Arts. the subtle and minute gradation of tone and color used to blur or veil the contours of a form in painting.
[Origin: 1840–50; < It, ptp. of sfumare to gradate tone or color, equiv. to s- < L ex- ex-1 + fumare to smoke < L fumāre; see fume]
perfect.thanks buddy. :)
very perfect.
Thanks Macro...uh now can you post some examples of all three.
Thank you
CZ
:)
Actually I can direct you to some good examples on this page. If you scroll down to the picture of Carlos by James "From the Darkness" you can see what sfumato basically looks like (even though this IS a painting term), the photo is soft and smokey so is a good representation of what the techniques might look like in its final form. The countours are not obvious, and the gradations are very subtle. Typically Leonardo paintings are used to show examples of Sfumato, but I figure we've all seen the Mona Lisa (although if you haven't looked at the gentle painting used to make her face it's worth another peek).
Above, the picture of Ren(E with an accent')by Carlos in "Photogenetics" (again if it were a painting) would be a great example of the dramatic lights and darks characteristic of chiaroscuro. Caravaggio is typically used to show obvious chiaroscuro, and it's interesting to note the personality of painting techniques, that is to say, if Leonardo and Caravaggio were to have a fight, Caravaggio seems far more aggressive than ol'softie Leo, and would most likely kick his ass (provided LDV didn't fly away in his fancy helicopter, or use a trebucher =P)
I'll see if I can find a good one for foreshortening. Hope that works for ya =).
That works and you are certainly a natural teacher.
This is the best earth on blog
-sky onosson
:)
caravaggion was used to fighting, as part of his general lifestyle of carousing, gambling, and back-alley shenanigans, so i'm sure he'd kick leo's butt.
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