Barnstone Studios, Coplay PA. While in Pennsylvania this past week I made sure to take a side trip to visit Barnstone Studios, where both Juliette Aristides and Dan Thompson studied for several years. I called first and spoke to founder Myron Barnstone who welcomed me to come that evening to observe a class.
I walked up the stairs on a late afternoon summer day and entered what I consider to be art school heaven. The entire 3rd floor of the building is one big room with white walls, white ceiling, and wooden floor and windows all the way around. All the windows were open and several fans were on to combat the sweltering day, so the air was cool and the room was bright with ambient natural light. Drawing benches were set up around a central drawing stand and a few students milled around talking quietly while waiting for class to start.
The students began to draw from the posed figure. Mr. Mr. After the lecture I asked him if there are any books that teach the Golden Section as applied to art. Basic Chaos and Fractals Intro. Simple Iterative Fractals The geometry of Fractals lies somewhere between dimensions. To be totally accurate "fractal" is even not a 'thing' at all but more like a unit of measure or mathematical characteristic. For example each fractal has a 'fractal dimension' which is it's degree of regularity and repetition. CANTOR SET: One very simple way to understand fractals and the meaning of "iteration" is to examine a simple recursive operation that produces a fractal pattern known as Cantor Set. you take a line of arbitrary length and remove the middle third. this is the first step or "Iteration", then take the remaining two lines and repeat the clipping procedure.
From Wikipedia "The Cantor set, introduced by German mathematician Georg Cantor, is a remarkable construction involving only the real numbers between zero and one. This also illustrates a fundamental property of fractals .. infinite boundaries. Fractals can enclose a finite area with an infinitely long & intricate line or boundary. Cool Chaos & Nonlinear Geometry. Fimo Clay Sierpenski Fractal More fun with Fractal paper art Fractal Origami & Paper-folding Fractal Paper Cut-Outs Recursive Painting & situation - I randomly saw this at a local art show on '05 A Couple of Fractal-ish Comic Book Covers Fractal & Recursive Product Labels Simalar to the images in the 'Wada Basin' Section: Views from Interior of Reflective (Mirrored) Spherical Polyhedra (below left) Mirrored Cube and Dodecahedra (Above, from left) Mirrored Cuboctahedron and Icosahedra (below left) Mirrored Octahedron and Rhombidodecahedra (Above, from left) Mirrored Icosidodecahedron and Truncated Octahedron Nice Quadratic Rational Fractal 'cubic version of a carpet fractal' from the early 1990s by Peter Liepa Carpet Fractlals rendered in the early 1990s by Peter Liepa Excerpted from PDF on Global Fractal Scaling Theory Contact me to commission a fractal painting or mural for your home, office or laboratory.
Lighting Association for China. Traditional Layout Using the Rabattement Surface. Traditional Layout uses the Rabattement Surface to layout an Stereotomic (3D) view of an rafters in a 2D space/plane. There are a few French and German books showing and explaining how to draw out the Stereotomic view of the rafter, but nothing in English. This article is an attempt to explain the Rabattement Surface used in Traditional Layout in English. Rabattement Surface = Folding Plane or Folding Surface The first concept that needs to be understood, is drawing the Profile View of the layout.
The layout of the Profile View is critical to the rest of the layout. In the profile view you draw the elevation of the roof above the plan view. In plan view draw a perpendicular line at the end of the hip rafter equal to the rise (G1-S1) in elevation. Next, drop perpendiculars from A1 to A and A3 to C. Here's an example of dropping perpendiculars from a jack rafter on the Rabattement Surface to establish the bevels angle cuts on the edges and sides of the jack rafter. Rabatment of the rectangle.
The dotted line represents one of two possible rabatments of the rectangle Rabatment of the rectangle is a compositional technique used as an aid for the placement of objects or the division of space within a rectangular frame, or as an aid for the study of art. Every rectangle contains two implied squares, each consisting of a short side of the rectangle, an equal length along each longer side, and an imaginary fourth line parallel to the short side. The process of mentally rotating the short sides onto the long ones is called "rabatment", and often the imaginary fourth line is called "the rabatment". Also known as rebatement and rabattement, rabatment means the rotation of a plane into another plane about their line of intersection, as in closing an open hinge.[1] In two dimensions, it means to rotate a line about a point until the line coincides with another sharing the same point.
The term is used in geometry, art and architecture.[2] Theory[edit] Practice[edit] Examples[edit] Golden ratio. Line segments in the golden ratio In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. The figure on the right illustrates the geometric relationship. Expressed algebraically, for quantities a and b with a > b > 0, The golden ratio is also called the golden section (Latin: sectio aurea) or golden mean.[1][2][3] Other names include extreme and mean ratio,[4] medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut,[5] and golden number.[6][7][8] Some twentieth-century artists and architects, including Le Corbusier and Dalí, have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing (see Applications and observations below).
Calculation Therefore, Multiplying by φ gives and History. The use of the golden section at Enguerrand Quarton. E Quarton, one of the major figures of the French painting of the XVth century. Native of the diocese of Laon in Picardy, the painter Enguerrand Quarton is known to us only by his activity in Provence, been attested from 1444 till 1466. The definition of his artistic personality took place from two admirable paintings, the Virgin of Mercy (Chantilly, Musée Condé) and the Coronation of the Virgin (Villeneuve-lès-Avignon, Musée) the paternity of which is proved by two contracts of command, spent respectively in 1452 and in 1453 between the painter and his sleeping partner.
Compared with these, were allocated to him other painted panels and illuminations. The monumental order of its compositions, the elegance of its so striking, linear rhythms in Pietà, come to him maybe of its training in the North of France, in the contact of the Gothic cathedrals and illuminators' workshops. (Extract from the website of The Louvre) Enguerrand Quarton - Avignon Pieta - circa 1455. Golden Ratio, Rule of Thirds, and Rabatment | Landscape Learner. The placement of the golden ratio intersections varies according to the proportions of the canvas. In the first format below, the golden sections divide the square canvas almost in thirds.
In the second format (a 1 x 2 ratio, for example a 12 x 24 canvas) the lines fall closer to the centre: The Rule of Thirds Most standard-sized canvases have a length:width ratio of between 1.2 and 1.4 to 1 (somewhat shorter than the “ideal” golden ratio of 1.618 : 1). A 12 x 16 canvas, for instance, is 1.33 : 1. On these formats, the golden sections (shown below in red) fall very close to the lines dividing the sides into thirds (shown in blue).
This has led to a simplification of the golden ratio principle, known as the Rule of Thirds, which approximates the “sweet spot” by dividing each edge of the canvas into thirds. Rabatment Another interesting option for placing the centre of interest is the rabatment. This is the reference photo for a painting I did a couple of years ago.