![]() Each of the artists brought a covered painting to the contest. Pliny the Elder, in his Natural History, narrates the legendary competition between two renowned painters in ancient Greece: Zeuxis and Parrhasios. When they are successful, the creation is sometimes difficult to distinguish from the model. Realistic painters convey the illusion of reality, volume or distance by making good intuitive use of perspective, color, lighting and shadow. Visual artists often try to imitate reality closely. By studying these failings, we can learn about the computational methods the brain uses to construct visual experience. ![]() Because of this disconnect between perception and reality, these optical tricks demonstrate the ways in which the brain can fail to re-create the physical world. When we experience such an illusion, we may see something that is not there, or fail to see something that is there, or even see something different from what is there. Visual illusions are defined by the dissociation between physical reality and subjective perception of an object or event. Applied to architecture, their work continues to astound. Long before scientists were studying the properties of neurons, artists had devised a series of techniques to “trick” the brain into thinking that a flat canvas was three-dimensional or that a series of brushstrokes was actually a still life. Historically, artists as well as illusionists have used illusions to develop deep insights into the inner workings of the visual system. One of the most important tools neuroscientists use to understand how the brain creates its sense of reality is the illusion. So take a lesson from Socrates: “All I know is that I know nothing.” In other words, the real and the imagined share a physical source in the brain. But the same neural machinery that interprets actual sensory inputs is also responsible for our dreams, delusions and failings of memory. Of course, many experiences in daily life reflect the physical stimuli that enter the brain. Although our sensations feel accurate and truthful, they do not necessarily reproduce the physical reality of the outside world. In other words, starting zoomed way out to see the whole piece from afar and focusing in as details are added.IT IS A FACT of neuroscience that everything we experience is actually a figment of our imagination. Once in Photoshop, I just started adding more and more details until it reached what’s seen in the final version. I knew that I wanted the bricks to flow into the art to create the 3D illusion of depth, so I went and photographed the wall before I started to try to have that line up as best I could. Next, the favorite option was chosen by the client and I began blocking in color for the main elements. The job started with creating three to four ideas as rough sketches. I like to leave as many layers as I can in case there are revisions later, I can just change out or adjust individual layers. The Photoshop file had in the neighborhood of 400 layers. Because it needed to be created a quarter size at 350 dpi for the printer’s specifications, it still turned out to be a large Photoshop file at 7 to 8 gigabytes. ![]() JC: It took close to 40 hours from sketch to finished piece, with a few rounds of revisions to dial it in.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |