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Another use of line in graphics is the ability to help suggest a tone or feeling in a work. Vertical lines can be used to create a sense of strength or stability. An example of this could be a row of trees in a picture creating a series of vertical lines. Horizontal lines can be used to create a feeling of calm, peace or passiveness.
A line's angle and its relationship to the frame's size influence the perspective of the image. Horizontal lines, commonly found in landscape photography, can give the impression of calm, tranquility, and space. An image filled with strong vertical lines tends to have the appearance of height and grandeur.
The café wall illusion (also known as the Münsterberg illusion or the kindergarten illusion) is a geometrical-optical illusion in which the parallel straight dividing lines between staggered rows with alternating dark and light rectangles (such as bricks or tiles) appear to be sloped, not parallel as they really are.
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There are different types of lines artists may use, including, actual, implied, vertical, horizontal, diagonal and contour lines, which all have different functions. [3] Lines are also situational elements, requiring the viewer to have knowledge of the physical world in order to understand their flexibility, rigidity, synthetic nature, or life. [1]
The photograph demonstrates the application of the rule of thirds. The horizon in the photograph is on the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree is at the intersection of two lines, sometimes called a power point [1] or a crash point. [2]
Another explanation is the "framing-effects hypothesis", which says that the difference in the separation or gap of the horizontal lines from the framing converging lines may determine, or at least contribute to the magnitude of the distortion. The Ponzo illusion is one possible explanation of the Moon illusion, as suggested by Ponzo in 1912. [3]
Serpentine lines from Hogarth's The Analysis of Beauty. Line of beauty is a term and a theory in art or aesthetics used to describe an S-shaped curved line (a serpentine line) appearing within an object, as the boundary line of an object, or as a virtual boundary line formed by the composition of several objects.