“If everything is important, then nothing is important,” says human factors engineering student Sara Berndt. Ultimately, spacing is important and any kind of guideline is helpful. The golden ratio can work a bit like the rule of thirds: It can be a compositional convention or guide, but not a hard-and-fast regulation about how you should structure your work. You can use the golden ratio to help guide you. “On a graphic that might be pretty busy, so placement is everything,” says graphic designer Jacob Obermiller. You can create a poor design that still conforms to the golden ratio, but you can use the golden ratio to inform your composition, to help you avoid clutter and create an orderly and balanced design. There’s no evidence that use of the golden ratio is better than use of other proportions, but artists and designers are always in the business of creating balance, order, and interesting composition for their work.Īesthetics and design don’t adhere to strict mathematical laws. Phi allows for efficient distribution or packing, so leaves that grow in relation to the golden ratio will not shade each other and will rest in relation to one another at what is known as the golden angle. Tree leaves and pine cone seeds tend to grow in patterns that approximate the golden ratio, and sunflower spirals and other seeds tend to hew close to phi. Phi does show up in other aspects of nature. It’s true that nautiluses maintain the same shell proportions throughout their life, but the ratio of their shells is usually a logarithmic spiral, as opposed to an expression of phi. Some seashells expand in proportion to the golden ratio, in a pattern known as a golden spiral, but not all shells do. The proportions of nautilus shells and human bodies are examples of the golden ratio in nature, but these tend to vary greatly from one individual to the next. This piece of information will be useful to art Scholars, art teachers and art practitioners at large who intend to develop their potentials in illustration technique.Golden ratio enthusiasts argue that the golden ratio is aesthetically pleasing because it’s common in the natural world. Basic information on digital illustration will also be enumerated in the project. Vector and Raster techniques of computer graphics will be employed and discussed. In view of this, this study uses Adobe Photoshop CS4, a digital draw and paint tool, to illustrate some of the notable folktales in Igbo oral tradition. However, much experiments and visual expressions of Igbo folklore have not been explored using these modern digital media. Today, digital media in Nigeria is not farfetched. During the heydays of contemporary Nigerian artists, art scholars like Uche Okeke, Chike Aniakor, and Obiora Udechukwu, to mention a few, used visual metaphors to portray some of the Igbo folklore, particularly in the form of Uli lines. Thus this led to various publications on the Igbo folktales. With that, a lot of oral literature were researched on and written down. Time came when scholars from Nigeria and Igbo Society in particular came to academic recognition of the latent potentials in folktales. From past times oral literature had been the norm for the transmission of folktales.
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