Stacked Boxes
Negative space
Subdivided, foreground floor (fg)and background(bg) Gradient in background creates a volumetric space contributes to mood.
The shape of the negative space surrounding the boxes, the notches, the small openings under each box creates visual interest.
Contrast The horizontality of the wood floor contrasts with the verticality of the boxes. The vertical locks/handles contrast with the horizontal boxes
Texture on floor emphasizes foreground
Color
Warm floor, cool background
Boxes are a mix of warms (oranges and yellows)
and cools, blues and blue grays
The green and beige act as intermediaries, glue, compositional binders
Perspective. 2 pt. Creates depth, deeper space. Volume. Form.
Repetition of the boxes creates rhythm and unity
Summary. Visual interest is created through the use of contrasting warms and cools, a variety of textures, the use of typography, and the development of a minimal yet evocative realistic studio or gallery space. The boxes have a sense of antiqued beauty, mystery, aged through travel or shipping. It’s intended to work as sculpture, not an image we might encounter in a warehouse.
Girl in a Cap
Negative space
Shallow. Textured, starting with vertical blurred lines at bottom changing to broken gridlike elements. Soft gray, low contrast, sharply delineated interesting contours around the cap leading to a blurry softness from the shoulders on down.
Contrast
Wide range of values, from the charcoal blacks under the cap to the whites around the nose, and a fell spectrum of midtones. Classic upper left light source creates a sense of volume and highlights the shapes of the face, the lips, the eyes.
The dark lips due to their dark against light contrast are almost as strong as the eyes for focal points.
The wavey hair contrasts with the sharpness of the collar, uniform?
The vertical background stripes are broken by perpendicular folds in the material.
We are confronted by the gaze.There is no voyeurism here. Mugshot? Photobooth?
Repetition The roundness of the buttons, the eyes.
Summary
An ambiguous portrait, the mood is worker class, but the make up, the pose, could be modeling for a brand of clothing here. The confrontational yet expressionless gaze, the flatness and closeness of the space, for me it has a certain timeless beauty, soft shapes and arms length intimacy, has an album cover feel, magazine material.
Poster
Negative space
Great example of how the negative space here is as important and as interesting as the positive forms. The blue diagonal thrusting down from the upper left donw into the pink structure. Movement, contrast.
Contrast
Cool against warms. Rounded structures against angular
Repetition
The grid of glasswork towards the lower right. The chairs.
Space
The perspective of the building starting from the right angles down to a point directing us to the land far in the distance. Both scale and value are used to create distance and depth here.
Composition
The text upper left acts as a visual brake, keeping our eye from leaving the space following the line of pink angling up and out.
Scale
The huge pink structure just has so much presence, looming over the comparatively tiny mirrored chairs below. Note how effective the use of scale is here, with the architecture dwarfing the much larger land mass farther out to sea.
poster for an interior design and architecture design conference showcasing color trends in 2024 --ar 4:5 --q 2 --q 2 --s 750
solitary man
Negative space The nuetral/warm sky is subdivided and filled with darker cloud forms, the foreground structures create puzzle piece cutouts against it, keeps the eye engaged.
Rule of Thirds One could argue that the upper 2/3s of the composition is emphasized due to the lower HL.
Depth Overlapping and diminishing sized structures, lighter values as the eye goes back, so yes, we go way back here.
Repetition There is repetition in the tile grid creating a pattern, percussive read, with an interesting overlay of reflection.
The Gaze / Eyeline Probably one the biggest contributing factors in the creation of depth here is the eyeline that we don't even see. We know Solitary Man is looking out in the distance, and we can’t help but follow his gaze to see what it is he is looking at.
Do we need the floating spheres? Ai garbage. It could be argued they create a midground buffer that slows our gaze down as we look far, far out onto the cityscape.
Symmetry This isn't symmetrical, but it is approximate symmetry. Being centered, static, contributes to the mood of contemplation and isolation. We don't want movement and dynamic imbalance here. It’s a nailed down gaze outword, he’s a totem, a symbol, an icon.
Prompt composition utilizing the rule of thirds as a guide for placement of a focal point for a design course graphic novel style Steve Dillon --ar 16:9 --s 750
Modern Minimalism w Japanese Influences
Negative space Open, with large expanses of textured wall, polished floor, floor to ceilign blinds
Contrast Low contrast on purpose,relaxing,a sleep area.There is contrast between the textured wall and the rest of the room. There are contrasting lines; the vertical blinds / paneling on ceiling and wall.
Repetition Symmetry: Lamps, blinds, and in the corners some kind of covered element? We also see the wood repeated in the ceiling, walls, tables, and bed - These are material repetitions, not shape.
Unity through color and materials.
Mood through symmetry open space.
Summary
The natural elements, wood, textures, the open space, the light, uncluttered and balanced…This is the definition of luxery
There is good use of repetion of geometric form with the bed, door/windows, tables, pillows…The large textural wall enhances without being overbearing. As far as scale, some people might want a more intimate space.
Prompt interior design, master bedroom, applying the principle of Value, Texture and the principles of Pattern, Repetition, and Rhythm, sustainable materials, old timber, raw concrete, whitewashed lime, Spanish estancia style mixed with modern minimalism and Japanese influences, pro lighting, super photorealistic --ar 16:9 --q 2 --chaos 100 --q 2 --s 1000 --q 2 --s 750