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| N is for Negative. © 2015 Don Arday. |
The relationship of positive and negative form plays an essential role in understanding and applying visual literacy. Compositionally
speaking, the things that are left out, and the spaces between elements of a
composition are equally as important as the elements, objects, and figures that
are placed into a composition. Negative space coordinates the positive
elements with one and other. In other words, it is the negative space in a
composition that provides definition and harmony.
To understand the importance of negative space it is
important to understand how persons perceive the scenes they view on a two-dimensional
picture plane. To begin with, it is impossible for the mind to comprehend both
negative and positive elements in the same instant. This physiological
limitation creates a conflict in a viewer’s perception that can be visually
stimulating and entertaining. Yet for some viewers it can be somewhat annoying.
One perceives only the positive or only the negative. This is a fundamental
concept of visual literacy.
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| Two shape interpretations, but in either example only the vase or the faces can be perceived in a given instant. A demonstration of figure ground, i.e. object and space by Danish psychologist Edgar Rubin. |
Space
Two-dimensional compositions are more or less divisions of
space. Space is the area around and within an object, form, or shape. Space in
front of or behind an object does not exist on a picture plane. It can only be
implied. Space, whether it is within an object or around it, can be either
positive or negative.
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| An example of implied form and space through compositional illusion. Artist: Norman Duenas. |
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| Space within and around form used to define figures. Artist: Eric Goodwin. |
Juxtaposition
Forms and shapes are either positive or negative. This
applies to both objects and the space that exists around them. In a conventional
two-dimensional composition, objects constitute positive forms, while the environment
they exist in makes up negative space. This rudimentary principle is based on
sight and perception. Therefore effective use of negative space is essential to
a two-dimensional composition. It is far easier for viewers to be attracted to
see positive elements within a composition than it is for them to see negative ones.
However it is the juxtaposition or coexistence of the positive and negative
form to space that creates order. Artists such as M. C. Escher created
many interesting works exploring this concept of juxtaposition.
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| A supreme example of negative and positive juxtaposition. Path of Life. Artist: M.C. Escher. |
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| Criminal and hero juxtaposed. Artist: Simom C. Page. |
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| Negative positive male and female justaposed. Artist: Malika Farve. |
Perspective
Perspective in two-dimensional art is an approximation to
represent an image spatially, or as the eye would see it in reality if it
existed, i.e., it is the technique used to represent three-dimensional images
on a two-dimensional picture plane. Objects that are closer to the viewer are
larger and as their distance from the viewer increases they become smaller. They
may also be foreshortened and display a reduction of chroma and contrast. Any tangential relationships within a composition tend to counteract spatial depth. There is
a significant difference when regarding perspective between what is seen in
reality and what appears on a picture plane. In the real world, there is no
such thing as negative space. Things are either closer or more distant, but
every space is occupied. On a picture plane, by necessity, a form of editing
and translation must occur to impart perspective. The use of negative space
plays an important part in achieving an acceptable composition.
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| Perspective is used to create an impression of scenic space while using tangential relationships for spacial contrast. Artist: Mads Berg. |
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| A composition with multiple perspectives. Artist: Tamer Poyraz Demiralp. |
Implication
Everything in a two dimensional composition is implied. In
other words, it is not real but merely a recording of something that exists in
another state -- be it in reality or the imagination of the artist. In order to
be visible, forms and elements take up two-dimensional space. And in a
narrative or representational work, in an attempt to convince a viewer to
believe and understand what is being represented, all aspects of a composition
are implied.
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| Though the use of positive form and negative space, it is a mental challenge for a viewer to ignore the implied face. Artist unknown. |
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| Stylizied elements are composed to imply narrative content. Artist: Adam Francey. |
Association
Although viewers seek to ascribe meaning to a visual
composition, they don’t necessarily go about it by carefully examining what
they are looking at. This forms the basis for the illusory nature of
two-dimensional art. Viewers believe in first impressions. The visual elements they
see in a work of art are given “the benefit of the doubt” that they represent tangible
things by a viewer. Therefore, an artist through remarkable elaboration, unique
stylization, or extreme simplification of form can suggest an object or a
concept. This can be done using positive elements or negative ones. Although it
is acceptable for a viewer to rely on first impressions, an artist must look
beyond them.
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| Two types of dog. Artist: Nick Kumbari. |
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| Six animals are represented here. Artist: Carolyn Remy. |
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Positive form as both negative and positive. Through association a viewer
puts the scene together. Artist: Frank Miller. Scene from Sin City.
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Negative form as both positive and negative. Artist: Frank Miller.
Scene from Sin City.
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| Association of shapes to familiar subjects. Artist: Napoleon Kwatila Bongaman. |
