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Which clippings match 'Out-of-focus' keyword pg.1 of 1
03 NOVEMBER 2012

Experimental typography: light refracted through water droplets

Ruslan Khasanov (2012) Lumen type: experimental typography.

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TAGS

2012 • aberration • animation • bokeh • dappled light • design craftdustetherealeveryday lifeexperimental techniquesexperimental typeexperimental type designexperimental typographyexperimentationflicker in the light • glimmer • letterform exerciseslight • light refraction • liquid type • Lumen type • magnifying glass • mirror surface • nostalgic elegance • optical distortion • out-of-focus • Ruslan Khasanov • Russian designer • scratches • small drops of water • tiny letters • typetypographytypography experiments • visual properties • water • water droplet

CONTRIBUTOR

Simon Perkins
25 MARCH 2011

Photorealism: a reaction to the detachment of Minimalism and conceptual art

"Chuck Close is associated with the style of painting called Photorealism or Superrealism. In this style, artists in the early 1970s created a link between representational systems of painting and photography. Photorealism developed as a reaction to the detachment of Minimalism and conceptual art, which did not depict representational images. Photorealists frequently used a grid technique to enlarge a photograph and reduce each square to formal elements of design. Each grid was its own little work of art. Many of the Photorealists used the airbrush technique.

Big Self–Portrait, in black and white, was the first of Close's mural–sized works painted from photographs. This painting took four months to complete. To make this work, Close took several photographs of himself in which his head and neck filled the frame. From these he selected one of the images and made two 11 x 14–inch enlargements. On one of the photographs he drew a grid, then lettered and numbered each square. Using both the gridded and ungridded photographs, he carefully transferred the photographic image square by square onto a large canvas measuring 107 1/2 x 83 1/2 inches. He used acrylic paint and an airbrush to include every detail.

When Close was making his painting he was concerned with the visual elements––shapes, textures, volume, shadows, and highlights––of the photograph itself. He also was interested in how a photograph shows some parts of the image in focus, or sharp, and some out–of–focus, or blurry. In this portrait the tip of the cigarette and the hair on the back of his head were both out–of–focus in the photograph so he painted them that way in Big Self–Portrait."

(ArtsNet Minnesota)

Fig.1 Chuck Close 'Big Self–Portrait', 1968 acrylic on canvas 107 1/2 x 83 1/2 in. Walker Art Center

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TAGS

1970s • acrylic • Big Self-Portrait • black and whiteblurry • Chuck Close • conceptual artcraftdesign formalism • enlargement • focus • grid technique • grisaille • hyperrealismminimalismout-of-focusphotographphotographic imagephotographyphotorealismportraitrepresentationrepresentational systemsscale • sharp focus • superrealism • techniquevisual elementsWalker Art Center

CONTRIBUTOR

Simon Perkins
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