Positive space and the work area boundaries shape up abstract negative structure in a frame. Also, the same is true for vertically oriented point of focus. We can counteract the horizontal heaviness of the main element with ample vertical empty space or lighter shapes. The simplest and most used technique of balancing a composition or the space available to work, is to exploit negative space. Here too, the area occupied by one item and it’s interaction with the objects around it, work as the negative space for its neighbors. Just like a living space with too many elements can work only if expertly handled, similarly an artwork chock full of objects vying for space can work only if handled ingeniously. It can communicate the artwork’s feel or mood, offer play space for the viewer’s own perspective and imagination, as well as create interest through the art of suggestion. Whereas, an empty negative space can speak volumes wielding the powers of minimalism. Creatively modulating the space around an object in focus adds to its character and interest value.Ī frame with too many elements of interest fails to communicate as effectively to its viewers as one with enough optical breathing area. Just like the star performer gets the spacious corner office with amazing views, important objects get more personal negative space. It guides and focuses the viewer’s attention on the subject matter. Also, more negative space at the bottom in a landscape gives the illusion of distance. For instance, the main object in an artwork with more negative space on top generally promotes the idea of weight. It doesn’t only help better define the composition of an artwork, but positioning of objects in focus too.
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