Bridget Riley. Screenprint. Her black and white geometric patterns that explore the dynamism of sight, and produce a disorienting effect on the eye, and also manipulate the space of the canvas and create form through this limited vocabulary of shapes and patterns.

Bridget Riley. Screenprint. Her black and white geometric patterns that explore the dynamism of sight, and produce a disorienting effect on the eye, and also manipulate the space of the canvas and create form through this limited vocabulary of shapes and patterns.

M C Escher - Ink, Paint, Pencil I like the complexity of each of Escher's tesselated shapes. This means the image has a lot of interest from far away, looking how each shape links with the others, but also an interest on each individual bird. This duality of the importance of the birds' outlines and the birds themselves creates a lot of visual interest.

M C Escher - Ink, Paint, Pencil I like the complexity of each of Escher's tesselated shapes. This means the image has a lot of interest from far away, looking how each shape links with the others, but also an interest on each individual bird. This duality of the importance of the birds' outlines and the birds themselves creates a lot of visual interest.

Technicolour Towers - Sharon Elphick I like Eplhick's use of photography for the original imagery before she abstracts and appropriates it, similar to Nicholas Ballesteros' work.

Technicolour Towers - Sharon Elphick I like Eplhick's use of photography for the original imagery before she abstracts and appropriates it, similar to Nicholas Ballesteros' work.

Gerhard Richter Abstract painting Werkverzeichnis: 660 Öl auf Leinwand I like the depth and texture created by being able to see through the layers of paint. The patterns created by the scraped lines are broken up by these textural marks for visual interest. His pairing of complementary and opposing tones of colours makes these areas vibrate, and harmonious colour sets are less direct.

Gerhard Richter Abstract painting Werkverzeichnis: 660 Öl auf Leinwand I like the depth and texture created by being able to see through the layers of paint. The patterns created by the scraped lines are broken up by these textural marks for visual interest. His pairing of complementary and opposing tones of colours makes these areas vibrate, and harmonious colour sets are less direct.

Gerhard Richter , Oil on Canvas I like Richter's choice and layering of colours and his wide variety of mark making and textures created by his application of paint.

Gerhard Richter , Oil on Canvas I like Richter's choice and layering of colours and his wide variety of mark making and textures created by his application of paint.

Sharon Elphick - photography Elphich's work mirrors Escher's tesselations, in that each shape is important in its relationship to others, but also in its own subject. She uses a limited palette and tessellates similar images to create a strong sense of pattern, and a surrealist element that comes from the relationships of the photos that border one another.

Sharon Elphick - photography Elphich's work mirrors Escher's tesselations, in that each shape is important in its relationship to others, but also in its own subject. She uses a limited palette and tessellates similar images to create a strong sense of pattern, and a surrealist element that comes from the relationships of the photos that border one another.

Bryan Wynter - oil on canvas For this painting Wynter applied each calligraphic mark in response to the preceding marks. This procedure was based on a scientific theory about the growth of organic forms. This reduced the role of the artist’s ego in making a picture, and allowed the picture to grow naturally out of the artist’s subconscious.  I like Wynter's use of complementary colours and flat marks which combine and vibrate to create a textural surface.

Bryan Wynter - oil on canvas For this painting Wynter applied each calligraphic mark in response to the preceding marks. This procedure was based on a scientific theory about the growth of organic forms. This reduced the role of the artist’s ego in making a picture, and allowed the picture to grow naturally out of the artist’s subconscious. I like Wynter's use of complementary colours and flat marks which combine and vibrate to create a textural surface.

Nicholas Ballesteros. Scanned photos on paper. About his abstract appropriation technique, he says: “This technique of altering or appropriating images is not for a desired outcome other than showing the found material’s sheer ability to be bent.”. I am especially interested in this balance between abstraction and realism, and his use of limited palette and high contrast in his images.

Nicholas Ballesteros. Scanned photos on paper. About his abstract appropriation technique, he says: “This technique of altering or appropriating images is not for a desired outcome other than showing the found material’s sheer ability to be bent.”. I am especially interested in this balance between abstraction and realism, and his use of limited palette and high contrast in his images.

Fusion of fantasy and architecture. drawing of Minoru Nomata Oil on Canvas Nomata appropriates shapes known to us to create an image we can understand, but becomes more confusing the more you study it. I like this sense of double layers to the paintings.

Fusion of fantasy and architecture. drawing of Minoru Nomata Oil on Canvas Nomata appropriates shapes known to us to create an image we can understand, but becomes more confusing the more you study it. I like this sense of double layers to the paintings.

Minoru Nomata: The Architect of Ruins Nomata's surrealism style is similar to Escher's impossible spaces, and through repetition and 'tesselation' of the arches creates a strong sense of depth and pattern.

Minoru Nomata: The Architect of Ruins Nomata's surrealism style is similar to Escher's impossible spaces, and through repetition and 'tesselation' of the arches creates a strong sense of depth and pattern.


More ideas
Relativity Par Escher Maurits Cornelis 294*282 cm En 1953 Lithographie,gravure Lithographie,perte,repère,relativity, escher

The 21 Coolest Things Ever Made Out Of Lego

Relativity Par Escher Maurits Cornelis 294*282 cm En 1953 Lithographie,gravure Lithographie,perte,repère,relativity, escher

Law of Common Fate: in this picture we see  blue and white birds moving in the same direction. Blues going to the left and whites going to right so we see them a unit by its color... http://blog.albumepoca.com/gestalt-e-grafica-il-valore-della-percezione-dello-spazio/?lang=en

Law of Common Fate: in this picture we see blue and white birds moving in the same direction. Blues going to the left and whites going to right so we see them a unit by its color... http://blog.albumepoca.com/gestalt-e-grafica-il-valore-della-percezione-dello-spazio/?lang=en

M.C. Escher - "House Of Stairs", lithograph, 1951 Lucky enough to have this on my wall as well.  One of my favorites!  Thanks mom and dad.

M.C. Escher - "House Of Stairs", lithograph, 1951 Lucky enough to have this on my wall as well. One of my favorites! Thanks mom and dad.

Tijdens mijn studie ook 1 van mijn inspiratiebronnen, Inspirational Design: Sharon Elphick

Tijdens mijn studie ook 1 van mijn inspiratiebronnen, Inspirational Design: Sharon Elphick

Abstract Appropriation   Nicholas Ballesteros inspiration

Abstract Appropriation - Nicholas Ballesteros

Abstract Appropriation Nicholas Ballesteros inspiration

Pinterest
Search