Research: find three landscape-based drawings and
post a response to them on the blog. Answer these
questions in your response: (a) “How does this artist
convince me that there is an actual space represented
through this drawing?” (b) “What sort of emotional
response does this drawing illicit and why?”
post a response to them on the blog. Answer these
questions in your response: (a) “How does this artist
convince me that there is an actual space represented
through this drawing?” (b) “What sort of emotional
response does this drawing illicit and why?”
http://picasaweb.google.com/107754881323820105002/SkizzenbuchStadtlandschaftStuttgart?gsessionid=w2BWO0oEJw3kq9l8wrJIBg#slideshow/5210956202397936402
ReplyDeleteTitle: Plieningen
Artist: Martin Stankewitz
Media: pen, paper
Date: 10/26/2006
This is a landscape sketch that clearly demonstrates a created space and depth of spatial illusion. There are strong components of foreground, mid and background, which allows the viewer to feel the exact spot of where the the artist is drawing from and then moves the eye through the composition into the skies. The technique and use of simple vertical and diagonal lines in the foreground become increasingly heavier in weight and density in the mid section of the drawing. This in combination with geometric shapes and specific placement of composition creates the illusion of objects that are closer or further away from the viewer. Far in the distance is open space with a plane flying upward and away solidifying the drawing and it's points of reference to perspective and actual space.
This drawing makes me feel like I am standing on the outskirts of town. It would be a long journey to walk if I want to get to the center and even longer if I want to go to the airport. The use of lines from light to heavy, open space to more dense areas and then clear skies in the yonder creates this illusion and sensation.
Painting- Second Story Sunlight: Edward Hopper
ReplyDeleteHopper convinces me that there is actual space represented through the painting by using perspective on the building, countour overlap on the women sitting on the balcony, solid geometry on the buildings and value in the trees.
The layered formalism of the composition creates an ojective reaction to the painting. The dark wilderness in back is loose. In direct contrast is the next layer of the solid geometry of the white house, then the focal point is a curvy lady setting in the edge of the balcony. Almost voyeuristic.
Painting-Sunrise, Yosemite Valley: Albert Bierstadt
ReplyDeleteBierstadt uses perspective, value and contrast to convince me of space in the drawing. He uses line to invoke an awe about the intracate detail of nature and the light around the corner makes the me feel as there is a beautiful sunset around the corner. This painting amkes me feel a connection to nature and want to be apart of it.
Drawing -Ralph Wheelock's Farm: Francis Alexander
ReplyDeleteThis drawing uses 3-D shapes, a distorted perspective and cross contours to convice me that there is space. The space though is trasnformed to imply the weight of the house on the feilds. The feild is what takes up most of the composition to imply that is what mostly happens at the farm, but the centraly located prominate white building in the background controls the whole composition. All the workers in this drawing know who thier boss is. The darkness in the forground of the sky makes me feel like working for this land owner was hard.
http://www.google.com/imgres?imgurl=http://img.artknowledgenews.com/files2010feb/Mark-Rothki-Horizontal-Vision.jpg&imgrefurl=http://www.artknowledgenews.com/2010-02-27-22-05-12-mark-rothkos-black-paintings-unveiled-at-the-national-gallery-of-art.html&h=623&w=800&sz=94&tbnid=IquwFvwDIL1PAM:&tbnh=95&tbnw=122&prev=/search%3Fq%3Dmark%2Brothko%2Bdrawings%26tbm%3Disch%26tbo%3Du&zoom=1&q=mark+rothko+drawings&docid=loDAyl6A7jTn_M&hl=en&sa=X&ei=bAsjT46UGZCDtgfi4bCiDw&sqi=2&ved=0CEMQ9QEwBA&dur=13004
ReplyDeleteTitle: Horizontal Vision
Artist: Mark Rothko
Media: oil and chalk on canvas
Date: 1946
Mark Rothko's skillful use of the horizontal line sets the tone of a dramatic abstract landscape either very close or very far in spatial perspective to the viewer, depending on the specific placement in his drawings. In this case, the horizontal line is two-thirds up from the canvas giving the illusion there is more of a three-dimensional view and longer distance with more open space in the forefront of it's composition. Rothko's style and aesthetic is static and heavy, not allowing room for very much movement. In Horizontal Vision, there are subtle curvilinear lines that do create movement, but it's confused and disorientating. It's uncertain if the space or illusion intended is to be underground, on the surface or in the sky. Perhaps all three.
When I look at Rothko's Horizontal Vision, I can discern it's landscape quality, but his abstract and arbitrary use of shapes and lines gives me the feeling of displacement and unknown space in the world. It provokes imagination and my own private sense of reality.
Title: Am Bergheimer Hof
ReplyDeleteArtist: Martin Stankewitz
Media: Pencil/Paper
http://picasaweb.google.com/107754881323820105002/SkizzenbuchStadtlandschaftStuttgart?gsessionid=NsrBbAkB47N3YsSi-EWHdA#5210955666119912354
(a) Stankewitz uses a curving roadway starting in the foreground and curving to the middle of the picture as well as the terrain on either side of the roadway to give the viewer the perception of the rising landscape. The crane in the background gives even further depth. Shading is used in several places to further illuminate certain spaces.
(b) This drawing makes me feel like that I am in two worlds. In the first world, you have that of a small rural town complete with cottages and a barn. In the second world you have a crane in the background where a larger structure will be put in place. This picture gives me the feeling of nostalgia as an older environment goes through change.
Title: Commuters
ReplyDeleteArtist: David Koloane Prints and Monotypes
Media: Pencil/Paper
http://www.davidkrutpublishing.com/dkp/wp-content/uploads/2008/06/dkct_david-koloane_traffic-jam_2008.jpg
(a) The shading that makes up the commuters in the foreground as well as the buildings in the background gives the sense that there is space represented. The dark marks in the foreground give the sense that there is chaotic movement filling the frame in many different directions.
(b) The drawing made me relate to the frustration and chaos of commuting. The movement and conflicts in different directions gives the sense of confusion.
Title: The Cityy
ReplyDeleteArtist: Stephen Thomas
Media: Pencil/Paper
http://blog.steventhomasart.com/
(a) The drawing uses the winding river to convince me that there is space. Also, the urban buildings on either banks as well as the topography convince me of the different levels of elevation of this "cityy." Thomas connects shapes specifically to make up the buildings to fill the space.
(b) This drawing makes me feel excitement. There is a lot going on and it looks like a very dense happening place with a neat water feature in the middle.
http://en.wikipedia.org/wiki/The_Persistence_of_Memory
ReplyDeleteTitle: The Persistence of Memory
Artist: Salvador Dali
Media: oil on canvas
Date: 1931
The Persistence of Memory by Salvador Dali is an iconic painting representing the artist's interpretation of space and time. His use and juxtaposition of landscape and objects through contrasting color and form gives the viewer a surreal and distorted impression of what space in three dimensional terms actually is in comparison to the real world. Dali used several psychological implications and specific compositional placement in order to achieve his immense and surprising use of space. It's amazing that nearly 85 years ago, his vision and ability to create such vast illusions of space can be compared with images we see today of the universe and our current knowledge of infinite space.
I take a deep breath of wonderment when I see this painting! I create space in my lungs, space in my imagination and exhale into infinite space. I feel there are no boundaries!
http://www.artistdaily.com/cfs-filesystemfile.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.32.39/Fairchild--Gardens-by-Sharon-Repple-2009-e.jpg
ReplyDeleteMedia: pencil/paper
a. The artist creates a sense of space in the drawing through the use of background trees that are higher on the page and smaller than the foreground trees. The artist also uses reflection to give a sense of space.
b. The artist creates an emotion of the simple immediacy of nature with still water and a simple, uncluttered foreground.
http://en.wikipedia.org/wiki/File:Magnolia_Florida_Drawing_rc05085.jpg
ReplyDeleteMedia: pencil/paper
a. The artist creates a sense of space by darkening the value of the groundcover in the foreground and lightening the road and house towards the back of the landscape. The artist also draws background trees that are smaller and washed out.
b. The artist creates an emotion of industriousness and activity with a figure carrying something and a tree freshly cut down. The homestead creates a sense of the vastness of the wilderness beyond.
http://images.fineartamerica.com/images-medium-large/everglades-florida-murphy-elliott.jpg
ReplyDeleteTitle: Everglades Florida
Artist: Murphy Elliot
Media: pencil/paper
a. The artist creates a sense of space by arranging the grasses in the foreground and background in a diminishing perspective. The relative size of the animals in the foreground and the person farther back also creates a sense of depth.
b. The artist creates an emotion of playfulness and fun with the posture of the person and the casual observance of the animals. The softness of the edges also contributes an emotion of safety.
Landscape 1: http://en.wikipedia.org/wiki/File:Themistokles_von_Eckenbrecher_Utsikt_over_L%C3%A6rdals%C3%B8ren.jpeg
ReplyDeletea: As we mentioned in class, this artist scales his objects, so that those closer to the viewer are larger, while those farther away are smaller to give a sense of distance. Distant objects are less detailed to give a sense of atmospheric perspective. In this landscape in particular, the distant mountain has a blue hazy look, which is also the artist conveying atmospheric perspective. The people and the buildings in the distance also give a sense of scale to the mountains in the background, because the viewer has a clear sense of just how tall those people should be, and how big the buildings are in reality, which make the mountains seem all the larger. The way the light reflects on the water is also a clear detail that provides a sense of reality to the painting.
b: I really like this painting because of how peaceful it looks. The mountains and the clouds dwarf the humans and the town, but it is not in a threatening way. The light on the coast, the reflection of the light by the fishermen, the peaceful, yet active people, and the colorful buildings in the distance make me feel at peace and relaxed when looking at the painting. It makes me want to go where the artist was!
Landscape 2: http://cdn.shopify.com/s/files/1/0019/3112/files/cole_large.jpg?1268706657
a: As in the previous painting, the artist makes good use of perspective to make the scene look like a real place. The light one the mountain faces and the shadow on the other faces of the mountains also give it a realistic look. While I can not make out individual leaves on trees when I look closely, I feel like my mind fills in the gap and makes the trees look complete because of the lightness of the artist's brushstrokes and the use of light and shadow.
b:This painting does not relax me in the same way the previous one does. The contrast between light and dark in the painting is natural, but it gives me a sense of unease. It is autumn in the painting, as evidenced by the red trees, and I know it must be getting cold in the mountains. The people gathered in the circle are all dressed in red except for one figure which is in blue and appears to be held there, and I can not help but wonder if this landscape is showing something a little darker than an autumn's sunrise.
Landscape 3: http://en.wikipedia.org/wiki/File:Archip_Iwanowitsch_Kuindshi_001.jpg
a This is a pretty bleak looking landscape that once again uses perspective and light to give a sense of reality. I like how the artist diffuses the light through the morning fog. On the right hand side, it becomes difficult to even tell where the horizon is as the fog diffuses the difference between the sky and earth. Some there is some texture to the river to show motion, but it seems like this is a gentle moving river.
b: This is a bleak looking landscape, with thistles, grey fog, and tall scratchy looking grass. But, it does look like a beautiful place. I feel like I am some kind of traveler, moving through an empty land on my way to something more important looking at this picture. The bare landscape, the fog, the hazy light, give this an almost other-worldly feel that I quite like.
Landscape 1.
ReplyDeletehttp://kullaf.wordpress.com/2009/11/25/gestural-urban-landscape-drawings/
Anne Kullaf is a faculty member of the Visual Arts Center of New Jersey, the Hunterdon Museum of Art, and the Center for Contemporary Art.
Medium is black acrylic on paper with white charcoal; untitled; 2007
In this drawing by Ann Kullaf, actual space is defined by proper perspective. The paths along either side of a linear water feature seem to reach into the page toward a storied structure. The line at the beginning of the path, as well as the lamp post, are the same length or larger than the roof line of the structure located mid-paper. Convergent lines that lead toward the structure give depth to the drawing. Space is also defined by the low linear pool that continues off the paper at the bottom left urging the eye to look further up the paper. Empty space at the top of the paper and in-between the broad blocky strokes representing trees, gives the feeling that this place may be at a lower elevation and that there may be something up and beyond.
I feel a sense of exploration in this drawing. The structure is pulling me toward it and to the grounds on either side. The buildings architecture such as the arches, second floor balcony, small door below, and the early nineteenth century style lamppost in the foreground suggest a sense of romance.
Landscape 2.
http://www.urbansketchers.org/2009/01/flickr-fave-bozemans-main-street-by.html
Drawing by Paul Heaston; media not mentioned
In this drawing tight elements define the building façade. The buildings seem to curve from left to right by raising or lowering, and angling the lines making up the roof, windows, and doors. The relationship between the base line of the buildings and the elliptical contour of the sidewalk resolves the streetscape and intersection to the right. Added elements like cars and streetlights add a sense of modern urbanism.
Although this drawing is titled Bozeman main street it lacks movement and vitality. The trees are bare perhaps it is a chilly day. I get the feeling of being in a place that has been in existence a while due to the bricks and archways. I also feel this town wants to modernize, the sidewalks seem new due to the tight edge and hard line.
Landscape 3.
Drawing by Hugo Crosthwaite (2007), a Mexican artist born in Tijuana. The work is done on paper and graphite. The drawing came from the following url.
http://www.noel-bazafineart.com/Noel-Baza_Fine_Art___India_Street_Gallery/Artist_Portfolios/Pages/HUGO_CROSTHWAITE.html#12
Hugo Crosthwaite’s untitled work of an urban landscape seems to float like a frame of film on an inky grey background. Mountains open the background and an ominous sky filled with dark clouds resolve a deserted streetscape. Power lines drawn at angles to rooflines and connected to poles, enclose and indicate height. A stairway leading from a luminous street surface to a bridge helps move the eye back and toward the left further defining the space to the top half of the drawing.
Below the street surface, dark rectangular forms connect with a grey wedge indicating support of the street floor above. Two figures wrapped in white cloth seem connected; only one pair of legs is visible. The figures, bathed in white light give tension to the drawing, and for me are disturbing in that they are neither falling nor rising.
Landscape 1
ReplyDeletehttp://www.drawingcenter.org/viewingprogram/artUploads/148/9641FFE9-0340-87DD-5CB24ACA09BB863D.jpg
Annunciation by Barbara Brainard
Monotype, 2009
1. The artist convinces the viewer that the painting is actual space through shading and linear perspective. There is a sense of depth, as the home at the front is much larger than the house that is supposed to be further away from the viewer. The monotype is full of texture, and the use of lighting also adds to the reality of the picture. The viewer cannot help but feel drawn into the scene portrayed.
2. This work evokes a feeling of emptiness, melancholy, and apprehension. The emphasis placed upon the sky in this monotype increases the scene's aura of desertion and vacancy. The sky almost seems as if it is crushing down on the buildings below. There are no life forms in the scene, only man-made structures. Even the use of just black and white in this drawing adds to the bleakness of this deserted street corner.
Landscape 2
ReplyDeletehttp://www.drawingcenter.org/viewingprogram/artUploads/6688/BF03D130-E4ED-DC7A-87D62403FDC38660.jpg
24.9.08 Dalston Junction by Alexandra Blum
Graphite on paper, 2008
1. Depth is very apparent in this drawing. The building in the foreground on the right is very large when compared to the hubub of the city that extends to the left of the scene. Even though shading and lighting are not really employed, the structures in the scene display texture and are placed to show which elements are closer or farther from the viewer.
2. This work evokes a feeling of change, vibrancy, evolution, and chaos. One can see construction proceeding in the background , emphasizing that the city portrayed is transforming. The scene is also very busy, giving this work a strong sense of hectic movement. The way the elements of the work are all jumbled also adds to its sense of chaotic confusion and urbanity.
http://www.drewmelton.com/image-files/pencil-sketch-farms.jpg
ReplyDeleteTitle and year not mentioned
Drew Melton
Pencil and paper
The artist of this piece convinces me of spaces through his attention to light and perspective. The reduced shading in the background, behind the landscape and directly over the road, is clearly meant to be lightscape of the sky in the horizon. The lines of the road, beginning wide at the foreground of the photo and meeting and veering toward the right are persuasive in showing a curving road. The delineation of the road with the landscape is created through the use of darker shading.
This scene is relaxing. The lines are soft, the landscape is of rolling hills and lush pines and oaks, and the road is a dirt road. The country aesthetic is overall very calming.
https://picasaweb.google.com/107754881323820105002/SkizzenbuchStadtlandschaftStuttgart#5210955831914203554
Skizzenbuch Stadtlandschaft Stuttgart
2007
Martin Stankewitz
Pencil on paper
Through pronounced height differentiation and darker foreground value, I am convinced of space in this drawing. By placing buildings in the background just slightly above the foreground buildings, and staggered, we clearly understand them to be higher in elevation. Like our previous class, the foreground structures are also drawn much darker, giving them the quality of being closer to the observer.
The lack of detail in this picture, especially in the natural landscape makes me feel cold (literally). This looks and feels like a winter scene. The blacked out windows in the focal point of this drawing, which is the town, reminds me of the thicker, blackout curtains I put on my windows in an attempt to keep in heat.
http://parentseyes.arizona.edu/huellas/barrioanita.htm
Barrio Anita Landscape, drawing by Antonio Mesquita
Media and year not mentioned
The artist’s lines and angles do the most convincing job of telling me about the space. The scale and degree of angles is juvenile and thus requires adjustment on the part of the audience. The irregularity of the lines also feel like they were produced digitally on a program like MS paint.
This drawing reminds me of elementary school and art class where I first learned about perspective. The building itself looks like my middle school. The simple construction and jailhouse quality, with the powerlines shamelessly unhidden and the awning an unadorned of tin, are familiar and strangely nostalgic.
Landscape 3
ReplyDeletehttp://www.drawingcenter.org/viewingprogram/artUploads/1520/61739ADB-E852-F2D7-8D12379E444166DA.jpg
Alley by Annie Wildey
Mixed media on paper, 2008
1. This work clearly displays a sense of real space. The road diminishes in width the farther it is from the point of the viewer. The building at the end of the street is also smaller than the buildings at the front of the scene. The enclosure that the buildings at the right and left of the picture makes also adds to the sense of real space. The lighting and use of shadows function similarly in creating a sense of space.
2. Stillness, quiet, and hope are all qualities I gather from this picture. The emptiness is evidenced by the lack of life in this scene. In addition, the alley looks like it is damp, as if it is currently raining or just finished raining. The picture evokes hope though, because of the way the light shines at the end of the dark alleyway. All one has to do is walk down the alley to return to the light.
Drawing 1: http://kurtdhollomon.files.wordpress.com/2009/09/3th-and-lovejoy1.jpg?w=500&h=674
ReplyDeleteKurt D. Hollomon, 2009.
A. In this drawing, Kurt Hollomon creates a strong sense of space by employing the use of a vanishing point to create depth along an urban corridor. The scale of the buildings and automobiles diminish toward that horizon, adding to the depth of the street. The strategically scaled architecture draws our attention down the horizon of the vanishing corridor. Lastly, areas without shading stand out in the forefront and appear open and void.
B. I feel both gloom and sorrow while looking down this Portland street on a cloudy day. There is also a deeper sense of hostility as the artist does not depict any human forms walking within this urban environment. Additionally, the vanishing point sets on an even darker horizon. The towering buildings intrude on my sense of freedom and the expressionless streets are further uninviting.
Drawing 2: http://vivalaresolucion.com/tag/jules-guerin
Jules Guerin, 1913
A. Jules Guerin was one of the artists responsible for the illustrations in Burnham’s Plan for Chicago. This particular drawing, published in 1913, creates an excellent sense of space. The use of scale within the architecture of the building shifts our point of view to follow the activity of the birds departing from a large open plaza and flying over a marvelously high and ornate rooftop into the sky. The use of light to illuminate the wall behind the arched pillars creates depth within the building.
B. As we know from the popularity of Burnham’s Plan for Chicago, Jules Guerin knows how to emulate feelings within his drawings. The area captured within this drawing leaves me with feelings of curiosity and admiration. The scene also feels wild as my eyes are attracted to the countless birds and their interplay with the architecture. The ornate, large building in the background adds to the mystical nature of an eastern culture, rich with heritage. Even the shrouded people in the open area behind the birds look interesting and exotic.
Drawing 3: http://www.saatchionline.com/art/Drawing-Pencil-Street-sketch-two/92041/1224114/view
Lucy Beveridge, 2011
A. The point of view in this drawing follows scaled buildings which ultimately terminate at a distant curve in the road. This creates a sense of space through depth. The diminishing curve of the road suggests that the space will also remain consistent between both sides of the street. The townhouses are back-to-back, contributing toward an open, controlled space which does not feel crowded or claustrophobic.
B. I feel that the sidewalk along the townhouses on this winding European street invites me to explore beyond the curve in the road. I find the architecture humble and welcoming. The consistent nature of the curves and townhouses in the drawing make this street also feel safe and comforting.
Landscape #1 Les Alyscamps-1888 Van Gogh
ReplyDeleteVan Gogh is one of my favorite painters and this particular location is one that we have seen many images of in the MPCU course work which represents to me that a beautiful landscape is timeless. Interestingly enough, this the space of this painting showcases the strength of the landscape versus the humans. The birch trees in their vibrant colors look almost like fire and loom over the figures walking between them. The foreground is flatter and more open looking as the background appears as if it were closing in a foreshadowing manner as if you would be walking into a trap or perhaps getting out of a stifiling situation.
Landscape #2-Cliff Walk in Pourville-Monet-1882
Converse to the Van Gogh landscape above, this painting by Monet is done in very soft pastel colors. Although the human figures are still represented weakly compared to the surrounding nature, the openess of the space seems much more liberating. The weather of the day is perfect with light blue skies overlooking the ocean while the the grasses on the cliff appear to be swaying in the breeze. Again, the sky is wide open which seems to encourage exploration and relaxation in a serene way.
Landscape #3-Two Sister-Renoir-1881
Another impressionist painting, this landscape actually features the figures of two females. In contrast to the Van Gogh and Monet pieces above, the landscape is the background while the sisters take the main stage. The scene is peaceful at first glance but the landscape in the background on closer inspection is somewhat unruly and untamed. The colors of the the figures are bold and darker while the nature behind them is painted in softer colors. The space suggests that the two sisters would not be walking out into the wilderness in the background but would stay in the civilized area of the garden.
Landscape Drawings:
ReplyDeleteI chose to look at Brazilian Slums or "favelas" for all three drawings. Favelas aren't your traditionally defined "landscapes" but I consider the massing of dwelling units and human activity on this scale most certainly landscape, the energy of which is difficult to capture and define. In this way I try to show that artistic devices can be utilized to illicit drastically different emotional responses from the same subject matter.
#1) http://suburbinmotion.blogspot.com/ (photo 1)
a. Space in this drawing is defined by the sea of favela in the fore and medium ground enclosed by the formal skyline in the background. It's almost as if you are on a yacht looking into Miami Beach, the waves of the ocean replaced by millions of slum dwellers. The framing of the abrupt "transition" between the two urban environments is difficult to look at: it violates everything the New Urbanists' transect theory vouches for. The drawing is void of value, utilizing only black and white and the washed out areas those extremes foster.
b)The blurriness and valueless aspects of the drawing cause a sort of dreary emotional response. You feel washed out in an industrial black and whiteness Anything on the street level is cloaked in darkness... activity is not important.
#2) http://arrestedmotion.com/2010/04/preview-jeff-gillette-dismayland-copro-gallery/
a) The terminating vista and one point perspective towards the castle define the space in this piece. We see "the way out" that draws us to the castle. However, it is proportionally as large as the simple shack in the foreground. Architecturally the shack reminds me of the widows walk found commonly in Seaside while the castle reminds me of the McMansions in nowhere exurban Texas with its silly and expensive roof.
b) This is my favorite drawing out of the three. Jeff Gillete's collection of "Dismayland" juxtaposes favelas and Disneyland. For the month that I lived in a favela, I often commented on the labyrinth like "roads" mirroring the wait lines of Disney attractions before opening up to a roller coaster. While I resonate with the similarities, Gillete uses an ethereal color pallette for the fireworks and Princess Castle background. These illicit the dreamlike state one is supposed to feel in Disney World. Contrast that with the vibrant, warm hues of the favela in the foreground and the drawing really pops. Though there is no human activity in Dismayland, the favela foreground looks like a place kids would run around (despite all the trash), mostly due to the artistic choice for color.
#3) http://diariocinzaescuro.blogspot.com/2009_09_01_archive.html
a) Unlike the last two photos that lead the eye out of the favela to something better, this one invites you in. The use of perspective towards an unknown place inside a busy, market-like urban area creates excitement, while a second vanishing point leads us up the mountain in the top right. The use of line in this drawing is very strong and appropriate as favelas are stunning geometrical conglomerations where I feel line is important.
b)This drawing makes favelas look like a fun and dynamic place to live. People and goods are in motion: you want to see another angle in on the vanishing points just to see what kind of activity is going on. There are ladders, kites flying, goods being transported, a very pleasant discordance.
Conclusions: There are varying opinions on favelas. Widely known for hotbeds of drug and gang activity, others focus on either the unique social and spatial organization, the organic architecture has been said to largely influence New Urbanism. The artistic devices in these three drawings illicit different responses, some as show them as seas of blight while other a vibrant activity center. Art and rendering can manipulate landscape