Brunelleschi's Dome, Basilica di Santa Maria del Fiore, Florence

Photograph Copyright ©2013 Loo Yen Yeo. All Rights Reserved.

Concepts: Triangles (horizontal convergence); Rhythm; Itten's contrasts (regular/irregular); Horizon (similar proportions);

Description: The edges of Basilica di Santa Maria del Fiore's nave create a horizontally converging triangle by the Gestalt Principle of Continuity, propelling the eye to the dynamic outline of the cupola; and then to the irregular horizon beyond, whose outline is accentuated by the pinkish back-light.

The movement of the eye over the façade's motifs create a sense of rhythm which changes pace when the façade angle alters at the dome's drum, stopping at the vertical edge. However the rhythm's visual momentum causes the eye to flow onto the irregular horizon line of Santa Croce district and the ancient Etruscan hills beyond.

Title: Convergence

The Walls Of San Marino

Photograph Copyright ©2012 Loo Yen Yeo. All Rights Reserved.

Concept: Horizon (foreground interest); Itten's contrasts (smooth/rough); Itten's contrasts (narrow/broad); Perspective (aerial); Perspective (linear)

Description: Although the horizon is located slightly above the mid-line, the aerial perspective increasingly mutes the colours of Emilia Romagna in the distance, making the horizon feel lower. The visual convergence of the handrail leads the eye into the scene enhancing the sense of perspective, climaxing in a dramatic plunge to infinity. A featureless blue sky balances the stone wall with contrasting texture and colour tone.

Title: A Plunge Into Infinity

Bacchus, Gallery of the Candelabra, Vatican Museums, Vatican City.

Photograph Copyright ©2012 Loo Yen Yeo. All Rights Reserved.

Concept: Itten's contrasts (light/shade)

Description: The light from a summer's setting sun pours through the Gallery of the Candelabra, bathing this sculpture of young Bacchus in honeyed tones. The God of Wine is identifiable by the wreath of ivy and grapes in his flowing hair; the Thyrsus, a staff of giant fennel (Ferula communis); and the panther who nursed him as an infant.

Title: Honey

Victoria Ivanova at Teatro Titano, San Marino

Photograph Copyright ©2012 Loo Yen Yeo. All Rights Reserved.

Concepts: Motion (complex streaking); Itten's contrasts (black/white); Balance (imbalance); Dynamic tension (single object)

Description: Victoria Ivanova's solo performance "Dervish tours" was captured in San Marino's national theatre, Teatro Titano, during the 32nd World Congress on Dance Research. The world's top dance professionals and researchers were brought together for a magical weekend in late June 2012 by Unione Folclorica Italiana (UFI) under the auspices Conseil International de la Dance (CID) UNESCO.

The framing of Victoria's twirling figure is deliberately offset creating dynamism through imbalance (in the conventional sense). However her orientation into larger space prevents the visual weight from pitching too far to the right; if she were to face the other direction, there would be greater imbalance and sense of progressive movement to the right.

Title: Victoria

Basilica di Sant'Andrea della Valle, Rome

Photograph Copyright ©2011 Loo Yen Yeo. All Rights Reserved.

Concepts: Itten's contrasts (new/old) (soft/hard)

Description: The Classics' Rebirth resounds in modern-day imagery. This hoarding of the Spring 2011's latest fashion carries the soft femininity of Botticelli's 'Primavera' against Carlo Rainaldi's hard-yet-ornate baroque façade of Basilica di Sant'Andrea della Valle (1663).

Title: Legacy of the Renaissance

02.01 Contrast

This is drawn from the work of Swiss painter, designer, educator and writer, Johannes Itten who taught at the Bauhaus (1919-1922); particularly from his "preliminary course" covering the basics of material characteristics, composition, and color. Contrast formed the root of his theory of composition, and he sent his students out in search of juxtaposed contrasts to awaken their sensitivity.

Competency would be achieved when one could:

1. feel the contrast without having to visualise it (kinesthesia); then
2. articulate the feeling of the contrast (objectification); and lastly,
3. construct an image of the contrast.

Examples of Itten's visual contrasts:

• Point/line
• Area/line
• Plane/volume
• Area/body
• Large/small
• Line/body
• High/low
• Smooth/rough
• Long/short
• Hard/soft
• Broad/narrow
• Still/moving
• Thick/thin
• Light/heavy
• Light/shade
• Transparent/opaque
• Black/white
• Continuous/intermittent
• Much/little
• Liquid/solid
• Straight/curved
• Pointed/blunt
• Strong/weak
• Horizontal/vertical
• Diagonal/circular
• New/old