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The geometric patterns and shapes are first drawn with the black outline and later filled in with color. The patterns are grouped throughout the walls in terms of their basic design structure. Creating the right tools to allow accuracy and freedom become a difficult task.
Girih patterns are very likely to be all over the walls of some Islamic architectures. The decorating lines connect to each other and form a continuous network across the entire tiling with edges combine. In addition, girih patterns vary a lot on the surface, with different geometric shapes including decagons, hexagons, bowties and rhombuses ...
In general, the shade is made by mixing a color with a darker shade, plus blue and a complementary of the proper color (such as yellow and dark blue, red and primary blue or magenta and green). [37] The light and chromatic harmony of a painting depends on color, i.e. the relationship between the parts of a painting to create cohesion.
Mach bands = visual illusion of brightness (intensive property) Illusions of position (Poggendorff), orientation (Zöllner) and, below, length (Müller-Lyer) Hering Illusion of curvature Delboeuf Illusion of size: left inner circle and right outer circle are actually equal Vertical–horizontal illusion Shifted-chessboard illusion
The arabesques and geometric patterns of Islamic art are often said to arise from the Islamic view of the world (see above). The depiction of animals and people is generally discouraged, which explains the preference for abstract geometric patterns. There are two modes to arabesque art.
If a geometric shape can be used as a prototile to create a tessellation, the shape is said to tessellate or to tile the plane. The Conway criterion is a sufficient, but not necessary, set of rules for deciding whether a given shape tiles the plane periodically without reflections: some tiles fail the criterion, but still tile the plane. [19]
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