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The use of negative space is a key element of artistic composition. The Japanese word "ma" is sometimes used for this concept, for example in garden design. [2] [3] [4] In a composition, the positive space has the more visual weight while the surrounding space - that is less visually important is seen as the negative space.
Negative curvature – a drawn triangle's angles add up to less than 180°; such 3-dimensional space is locally modeled by a region of a hyperbolic space H 3. Curved geometries are in the domain of non-Euclidean geometry. An example of a positively curved space would be the surface of a sphere such as the Earth.
The concept of space as a positive entity is opposed to the absence of such a principle in a correlated "Japanese" notion of space. Though commonly used to refer to literal, visible negative space, ma may also refer to the perception of a space, gap or interval, without necessarily requiring a physical compositional element.
The technique can illustrate emotions ranging from crowdedness, to power, to chaos, or even to movement in a photo. Positive photos often busy and active so that most of the focus is drawn towards the subject. It is important to note that positive space in photography is usually balanced with negative space to make an appealing composition.
In page layout, illustration and sculpture, white space is often referred to as negative space.It is the portion of a page left unmarked: margins, gutters, and space between columns, lines of type, graphics, figures, or objects drawn or depicted, and is not necessarily actually white if the background is of a different colour.
The negative-energy particle then crosses the event horizon into the black hole, with the law of conservation of energy requiring that an equal amount of positive energy should escape. In the Penrose process , a body divides in two, with one half gaining negative energy and falling in, while the other half gains an equal amount of positive ...
The vector space Λ n V (called the top exterior power) therefore has dimension 1. That is, Λ n V is just a real line. There is no a priori choice of which direction on this line is positive. An orientation is just such a choice. Any nonzero linear form ω on Λ n V determines an orientation of V by declaring that x is in the positive ...
Figure–ground perception can be expanded from visual perception to include non-visual concepts such as melody/harmony, subject/background and positive/negative space. [citation needed] The concept of figure and ground fully depends on the observer and not on the item itself. [24]