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Hi, need to submit a 750 words essay on the topic Two-dimensional Design Art.Two-dimensional Design Art Mona Lisa Mona Lisa is a two dimensional artwork done by Leonardo da Vinci between 1503 and 1507

Hi, need to submit a 750 words essay on the topic Two-dimensional Design Art.

Two-dimensional Design Art Mona Lisa Mona Lisa is a two dimensional artwork done by Leonardo da Vinci between 1503 and 1507. The painting possesses a superb composition and contains several aspects of techniques necessary in the explanation of artistic work. The artist utilized the color and the object’s contrast and distinctions carefully to ensure coherence of the elements in the painting. In Mona Lisa there is an enhancement of the aspects of art as the rhythm, shape color and line to obtain proper enhancement of the work. The combination of these design elements forms the composition of the artwork (Kalogridis, p. 271). Color interaction and the relativity color The color determines the interaction of the artwork with the senses of the viewer. There are two main types of color utilized in arts. they entail the cool and the warm colors. Leonardo da Vinci ensured&nbsp.proper utilization of color pigments in enhancing different parts of the painting, Mona Lisa. The artist has employed the utilization of both cool and warm colors that are significantly different to provide emphasis on the products of their disparities. There is the use of light color throughout the exposed body parts of the woman in the painting and a sharp dark color on her clothing. A critical view of the image coloring in Mona Lisa reveals a lovely touch of color that has in turn enhanced clarity and fostered smoothness of the surfaces. The primary purposes of color in paintings are decoration and descriptions (Kalogridis, p. 258). Leonardo da Vinci professionally moderated the color of the painting to expose the reality of the painting concerning real human image. The partially dark regions between the woman’s body and the cloth depict reality of experiences of life situations. For instance, between the sleeves and the hands there are dark spaces that cannot permit the observation of the inner space between the cloth and the body. Color is essential in every painting because of its unique nature of provoking the viewers’ psychology and imparts perceptions (Wissman & Messerly, p. 205). Nonetheless, the impacts of color vary amongst different individuals depending on culture or religious stipulations. In Mona leas, the artist has utilized uniform light color in the face to depict a calm mood. In case the artist opted to expose a different mood such as happy or somber, there would be a mixture of tints to expose stretches or wrinkles on the face. Rhythm In Mona Lisa painting, Leonardo has significantly used nether rhythm. The rhythm utilization has been manifested by the combination of different artistic elements to pose a general coherence of the painting. The rhythm offers a guideline of the viewer throughout the painting. The artist has emphasized on the attraction of the appreciators’ attention through the implication of the appropriate dimensionality in the viewers’ perception. Mona Lisa painting constitutes a single main object that attracts concern from the viewer. Nonetheless, the specialty of the painting and its ability to depict dimensionality is attributed by the rhythm formed by the objects it contains. The painter has employed both vertical lines and the horizontal lines to emphasize on the spaces between the objects in the work. The main objects contained in Mona Lisa include the clothes worn by the woman and the color of her body. In the spaces between the woman’s clothes and the body, the artist has effectively used vertical and horizontal lines to depict the disparity on the objects and the depth of their emphasis. The combination of colors, shapes, lines and consolidated perceptions form the rhythm (Strickl & Boswel, p. 166). Shape The shapes in the painting provide connections between different lines and inclinations to expose the dimensionality throughout the composition. The triangular shape inclined frontwards on the bosom of the woman in the portrait depicts a frontal orientation of the chest and the breasts. The woman’s face depicts a spherical parturition signified by finer brush strokes emphasize on the positions of the mouth, nose and the eyes hence, manifesting a real image of a human being. The spaces between the shapes also show the distances between different parts of the body and their appropriate positions (Wissman & Messerly, p. 232). Line and Mapping Leonardo da Vinci has employed varied lines to express ideas and manifest feelings to the observers. The line provides a guideline to the viewer’s eyes throughout the painting. In Mona Lisa, the artist has used finer brush strokes to depict smaller definitions in the image. There are thinner lines along the image layout that provides an overall mapping. Thicker brush strokes have been utilized to create emphasis on the painting. For instance, Leonardo da Vinci has used larger brush strokes to expose the woman’s cloth through a darker paint. Above the image’s forehead, the artist has also utilized thick paintings with darken color to manifests the compactness of the hair (Strickl & Boswel, p. 102). Nonetheless, the artist has emphasized on care for the woman’s hair through profound dexterity to expose the hair strands on the lower part from the neck to the shoulder as finest and tendered. The artist has employed a harmonized connection of colors between the scalp hair and face to offer a distinction between the face and the hair thorough provision of partial line boundaries between the skin and hair (Kalogridis, p. 144). The connection between different colors ion the work have attained significant color dissimilarities and emphasis through mapping. Work Cited Kalogridis, J. Painting Mona Lisa. Paris: HarperCollins Publishers, 2010 Strickl C & Boswel J. The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern. Ed. 2. Paris: Andrews McMeel Publishing, 2007 Wissman P. & Messerly K. Painting the Elements: Weather Effects in Oil, Acrylic And Watercolor. San Diego: North Light Books, 2006

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