DESIGN WITH THE SPATIAL ILLUSIONS OF BOTH DEPTH AND VOLUME

Depth and volume give pictured objects a sense of reality as opposed to being flat. In paintings, objects appear sculptured when given depth and volume. In graphic design this is done by special drawing and painting software. Manually, an artist or craftsman layers paper or fabric designs until the desired effect is achieved. In fine art, perspective shows these qualities. Modern technology makes all the above mentioned qualities easier and within the reach of the technologically advanced user, and to a certain degree, within reach of the beginning student.

Lines create different visual effects. Volume is suggested by a circle or by elliptical viewpoints when viewed at different eye contacts plus vertical lines that suggest an enclosed object. Viewpoints, whether looking down on objects, up at objects or seeing them at eye level are suggested by curved or straight lines. As an example, an artist creates a lake that appears flat and flowing across the page by the use of straight horizontal lines that lead the eye across the page; wavy lines suggest a jagged shoreline; squiggly lines suggest swimmers in the distance, etc. Shapes of objects such as ovals, squares, rounds, triangles are used to suggest volume, height, depth, width and to give clues as to their identity. Different shapes are combined to show specialized objects. Reality and vision are often at odds with each other when designing. We know that a box is a dimensional object that is square, yet, depending on its placement in a design - the perspective - the box may appear to be triangular, distorted, or flat.

Shapes are of three categories, geometric, regular, and abstracted according to The Basics of Graphics Design. Yet, a closer investigation will show that even these are nothing more than a combination of circles, squares, rectangles, triangles and ovals. When drawing a human form what else are heads but ovals, arms and legs slender rectangles and the torso another larger oval? This is simplistic but when combined with lines and shadows and dots and dashes and wavy diagonal lines, a human resemblance appears.

Volume is implied in objects by several means. As one example, this October leaves will fall and they need be raked and collected. In a scene where a web page designer is showing the season as an illustration to his article on leaf raking, how can they show the overflowing fullness of a trash can? First of all the outline of the trash can is suggested with vertical lines for the sides and a slightly curved horizontal line connecting them at the bottom. The top will be nothing more than a collection of curved and straight and diagonal lines suggestive of leaves overflowing. This will tell viewers the can is full and is overflowing. To show action, leaves will be in the process of falling and will be shown by having them drawn on their way downward. Shapes of leaves will be on the interior of the can and a small heap will be on the ground nearby. To show an empty can standing ready nearby, a slightly different approach will be used: Shadows will suggest the inside of the can as far down as perspective will allow. This is graphic designing and its purpose is to show what the eyes sees; not what the mind knows.

Graphic design takes in many different viewpoints and the software designers chooses different methods dependent upon the effect they want to achieve. The type of engineering will depend on the type of software being designed. Yet no matter, all will make use of shape, size, value, color, space and texture to show volume and depth. These can be reminiscent of natural shapes, geometric or abstracted and the scope of the possibilities is unlimited.

Simplicity heads the list of importance. Where else can this be seen but in blocks of squiggly lines making up a page of words outlined by white space? Would the newer graphical inventions be available for our convenience without this ability to pass on ideas and suggestions and show how and where to purchase software and where to get more information? When you're drawing or painting, no matter what your subject, you're essentially trying to create a realistic representation of a three-dimensional object in a two-dimensional space. Light and shadow on real-world objects help your brain add depth and volume to your perception; adding shading and texture to your drawings helps the viewers interpret them as three-dimensional objects and adds a sense of realism to your work.

Shading to Add Depth

When you look at an object or scene in reality, the way light interacts with objects in your field of vision helps your brain interpret what you see. Generally, the farther an object is from your vantage point or light source, the darker it will seem. In rendering two-dimensional images, you can use careful shading to cast distant objects into shadow or to subdue some objects and draw attention to others. By doing this, you add depth, and consequently the sense of a third dimension, to your image.

Shading to Add Volume

Gradual shading, using highlight, mid-tone, dark tone and shadow tones will create a sense of volume in your object. For example, a carefully-shaded circle can look like a sphere when you apply highlights (the lightest tone) closest to the perceived light source. Then apply light midtone shading near the middle, dark tones at the opposite end and draw in the cast shadow to complete the sense of volume.

Using Texture to Add Depth

Familiar textures can be interpreted through two-dimensional images even without the viewer being able to actually touch the object. Texturing objects in your image can add depth: objects that should look closer to the viewer need to have more visible texture than distant objects. With careful texturing, the field of vision contained in a two-dimensional image will have the illusion of distance, giving it a perceived third dimension.

Using Texture to Add Volume

Adding texture to a foreground creates a sense of realism. Using light and shadow, you can reproduce the rough surface of cement, knots and imperfections in wood, or the smooth but reflective surface of glass. Adding texture to familiar objects will give them the illusion of volume: people know what the bark of a tree feels like; by rendering its rough texture properly, you will create the illusion that the bark is real, and therefore three-dimensional, even though it can't actually be felt.

There are a number of ways to create the illusion of distance or depth on a flat surface. Here are some of those ways: 1. Objects that are further away will appear smaller than those closes by. Those same objects will also grow less distinct the further away they are. Their colors will fade and blend into the background colors. 2. Objects which are placed higher on a plane create the feeling of depth or distance. The viewer senses that he or she is standing away from the objects and that there is a large amount of space in the foreground. 3. Overlapping shapes tend to create a feeling of depth. 4. Arrangement of lights: When light is contrasted against dark, a sense of depth is felt. 5. Converging lines: Parallel lines, as they move away into the distance, appear to come closer together to form a vanishing point which may or may not be seen. A good example of this is a road or a path. 6. Colors: Warm and bright colors appear closer, whereas cool or dull colors tend to recede into the distance.