space assignment art

Advertisement

SpaceX's Polaris Dawn crew set to attempt the riskiest spacewalk yet

The Polaris Dawn mission will include the first ever civilian spacewalk, and with a new spacesuit and no airlock, it may also be the most dangerous spacewalk ever

By Leah Crane

29 August 2024

The four crew members of the Polaris Dawn mission

SpaceX is getting ready to execute the first ever civilian spacewalk. Until now, every time a human has left their spacecraft to venture into the void of space it has been a government-trained astronaut – but the Polaris Dawn mission, scheduled to launch on 30 August or later, is changing that, making it perhaps the most dangerous civilian space mission ever.

The main source of risk comes from the fact that the Crew Dragon, which will carry the four explorers into orbit, lacks an airlock. When astronauts perform spacewalks, or extravehicular activities (EVAs), on the International Space Station , they don their suits and enter a sealed room. The air is then sucked out of that room before they head into open space, keeping the rest of the station sealed and full of air.

The multiverse could be much, much bigger than we ever imagined

A new way of interpreting the elusive mathematics of quantum mechanics could fundamentally change our understanding of reality

The Polaris Dawn crew are due to spend up to five days in orbit. On the third day, the entire spacecraft will depressurise for about 2 hours, so even the two crew members who aren’t leaving the capsule will have to wear specialised EVA suits . It isn’t an entirely new protocol – many of NASA’s Gemini and Apollo spacecraft in the 1960s and 70s didn’t have airlocks – but it is significantly more risky than an EVA where the astronauts have a relatively safe airlock to retreat to in case of any issues.

“You’re throwing away all the safety of your vehicle, right? And it now comes down to your suit – it becomes your spaceship,” said mission commander Jared Isaacman during a 19 August press conference. Isaacman is the head of SpaceX’s Polaris programme, and its billionaire funder.

Another source of risk is the spacesuits themselves, which are brand new. They have undergone extensive testing in vacuum chambers, but any new type of equipment tends to be more risky than one that has already been put through the wringer of space. There are other dangers too: the flight will travel further from Earth than any human has been since the end of the Apollo programme in 1972 and will have radiation and possibly micrometeorites to deal with.

Sign up to our Launchpad newsletter

Voyage across the galaxy and beyond with our space newsletter every month.

Of the four crew members, only Isaacman has previously been to space. The other three are a retired test pilot, SpaceX’s head astronaut trainer and one of SpaceX’s lead space operations engineers. All three have worked in mission control for previous flights and have been in intensive training for this mission for two years.

“Even though these are not government astronauts, they are not space tourists – they are professionals,” says Laura Forczyk , an independent consultant in the space industry. “I don’t think you could come up with four better non-government astronauts for this mission.”

Why NASA is sending a probe to Europa – and what it’s looking for

Past observations have indicated that the icy moon of Jupiter has a vast subsurface ocean. Launching in October, NASA’s Europa Clipper will go there in search of evidence that it could support life

So while the Polaris Dawn mission has many inherent dangers, the extreme level of preparation on the part of SpaceX and its astronauts should mitigate them significantly. There is no such thing as a risk-free space mission, much less a risk-free spacewalk, but this is a crucial test for Crew Dragon and SpaceX’s new EVA suits, plus the explorers will have nearly 40 science experiments to work on while they are up there.

“While every EVA is risky, I would not say this is extraordinarily risky,” says Forczyk. “They have gone through every single scenario, they have backups and redundancies for every scenario, they are so well-prepared.”

The secrets of gravity

Theoretical physicist Claudia de Rham tells the story of how she has spent her career challenging gravity and pushing the limits of knowledge on 13 October.

• space flight /

Sign up to our weekly newsletter

Receive a weekly dose of discovery in your inbox! We'll also keep you up to date with New Scientist events and special offers.

More from New Scientist

Explore the latest news, articles and features

Stranded ISS astronauts reveal the US space programme is not in crisis

Starlink tests show how to save radio astronomy from satellites

Subscriber-only

Two NASA astronauts may be stuck on the space station until February

SpaceX prepares for Starship flight with first 'chopstick' landing

Popular articles.

Trending New Scientist articles

• Skip to Nav
• Skip to Main
• Skip to Footer
• Saved Articles
• Newsletters

San Francisco Art Museum to Move Into Building Co-Owned by Trump

Please try again

The Institute of Contemporary Art San Francisco announced today that it will soon move from its current location in the Dogpatch neighborhood to 345 Montgomery St. in the Financial District, a building co-owned by Vornado Realty Trust and the Trump Organization.

The property is anchored by a 52-story tower at 555 California St., the former flagship building for Bank of America, which the Trump Organization describes in its list of holdings as an “iconic business address towering over San Francisco.” The Trump Organization reportedly holds a 30% ownership share of the property.

Asked about former president Donald Trump’s stake in their future home, ICA founding director Ali Gass told KQED that “ICA San Francisco’s values are not at all aligned with Trump’s values.”

Gass added that fact would be made clear through the artists and programming the ICA supports in the new location, and stressed that the nonprofit has dealt exclusively with Vornado. “They have been extraordinarily generous and clearly believe deeply in the impact of a nonprofit arts organization,” she said.

The ICA’s future home, “ The Cube ,” was once a banking hall; the dramatic stone, glass and metal building was designed in 1971 by Skidmore, Owings & Merrill.

The non-collecting institution will reopen on two floors of the five-story, 73,000-square-foot building on Oct. 25, more than doubling its current gallery space. And, through a deal with Vornado, it will do so at virtually no cost to itself: The ICA will enjoy free rent and utilities for two years.

Gass emphasized the benefits the ICA will bring to the immediate neighborhood, and to downtown San Francisco at large. “What we’ve seen contemporary art be able to do in so many cities and neighborhoods [is] drive traffic and have economic impact,” she said, “because people come to an arts organization and they go get a meal, and they go get a drink.”

While the Trump Organization does not have decision-making power related to property, it has profited greatly from its partnership with Vornado, which includes another co-owned building in Manhattan. In 2021, Bloomberg reported that the former president was positioned to share a windfall of around $617 million after a bond sale to refinance 555 California St.

Largely funded by Silicon Valley tech money , ICA San Francisco set forth a bold mission to promote “ constant reinvention in the realm of contemporary art ” — and, just as importantly, to make that experimental work accessible to all. In the two years since its launch, the museum has largely made good on those promises, hosting eight high-profile exhibitions, all with free admission, plus dozens of additional pop-ups and educational programs.

During its time in the Dogpatch, the ICA hosted exhibitions spotlighting both prominent international artists and up-and-coming locals. One installation featured hand-sewn banners inspired by traditional tattoo designs; another asserted Black women’s right to rest and leisure . The museum also contributed to the once mostly industrial area’s burgeoning identity as the city’s “ artsiest neighborhood .”

The ICA will launch its new Financial District space with three openings: The Poetics of Dimensions , curated by Larry Ossei-Mensah;  Maryam Yousif: Riverbend , a ceramics exhibition that references Mesopotamian and Assyrian mythology and Iraqi pop culture ; and a solo presentation by New York artist Kathleen Ryan .

Thanks for signing up for the newsletter.

• Icon Link Plus Icon

Art in America’s Fall “New Talent” Issue Features 20 Artists to Watch Plus Reimagined Monuments, Peter Hujar, and more

By Sarah Douglas

Sarah Douglas

Editor-in-Chief, ARTnews

Related Articles

Artists and Creatives Are Working with AI Companies, but Should They?

Remembering the Righteous Anger and Joy of Faith Ringgold

Our present moment contains another wrinkle that, while less consequential than wars or elections, nonetheless affects the conditions of art-making. Since last year’s New Talent issue, the market for work by younger and emerging artists has taken a nosedive. Painters whose work was doubling and tripling in price at auction saw those prices come back down to earth. Yes, this directly affects only the tiny sliver of artists at the top of the market, but it provides noteworthy background for anyone making art today: when the fever for hot young painters subsides, the action gets more interesting. Our intention with the New Talent issue has never been to pick winners for the market, but perhaps collectors will be more inclined these days to direct attention to artists working outside the usual bounds, with unusual materials, like Eric Oglander and Haena Yoo, or in performance, like Pedro Zylbersztajn and mandla.

Outside the New Talent package, seasoned artists discuss how they’re grappling with the urgent issues of our time. In an interview with executive editor Andy Battaglia about his current exhibition at MASS MoCA, Steve Locke says “the warning signs are all there about what is happening in American life: contempt for certain kinds of people, hatred of women, violence against Black people. It’s almost like an orgy of violence against Black people.” Later in the interview, he wonders, “when did it become OK to show Black people being killed on TV?” Two days before this issue went to press, TV stations around the US were alive with body-cam footage released by Illinois State Police showing one of them fatally shooting an unarmed 36-year-old Black woman in her own home. Truly, when will things change?

New Talent 20 exciting artists to watch, as chosen by the editors of Art in America .

Monumental Proportions Since 2020, many Confederate statues have been toppled, but no one can seem to agree on what should replace them. by Emily Watlington Combating Censorship The US is facing more demands for censorship than ever—from the left and from the right. The National Coalition Against Censorship (NCAC) is helping artists fight back. by Maddie Klett

Portraits of Life After Death Peter Hujar’s intimate photographs of queer culture are being resurrected. by Jackson Davidow

DEPARTMENTS

Datebook A highly discerning list of things to experience over the next three months. by the Editors of A.i.A.

Appreciation A tribute to Faith Ringgold, an artist inspired by righteous anger and joy. by Tschabalala Self

Hard Truths An artist wonders about surrendering to the system, and a museum worker inquires about ratting on their boss. Plus, an interactive quiz. by Chen & Lampert

Sightlines Artist and curator Glenn Kaino tells us what he likes. by Francesca Aton

Inquiry A Q&A with Steve Locke about his painterly and polemical works at MASS MoCA. by Andy Battaglia

Object Lesson An annotation of Mary Lovelace O’Neal’s La Pietà . by Francesca Aton

Battle Royale Los Angeles vs. New York—two self-important art capitals face off. by the Editors of A.i.A.

Syllabus A reading list for a crash course on Surrealism. by Ara H. Merjian

Issues & Commentary Two artists chronicle edgelord discourses online. Are they beating them or joining them? by Louis Bury

Spotlight Indigenous Amazonian painter Santiago Yahuarcani is a star of the Venice Biennale. by Miguel A. López

Book Review A reading of Svetlana Alpers’s Is Art History? by Barry Schwabsky

Cover Artist Amanda Ba talks about her artwork featured on the front of A.i.A .

Venice Venice Diary by Emily Watlington

Bentonville, Arkansas “Space Makers: Indigenous Expression and a New American Art” by Alexander Brier Marr

Chicago “Christina Ramberg: A Retrospective” by Sue Taylor

East Lansing, Michigan “Samia Halaby: Eye Witness” by Sarah Rose Sharp

New York “LaToya Ruby Frazier: Monuments of Solidarity” by Shameekia Shantel Johnson

Philadelphia “Mary Cassatt at Work” by Carlos Valladares

Tiara’s Newest 56-Foot, 600 HP Boat Is a Speed Demon in a Full-Feature Package

EXCLUSIVE: Dior Recruits Miu Miu CEO as Managing Director

iPhone 16 launch will get unexpected competition from a tri-fold Android phone

Portland, Bhathal Family Get WNBA Expansion Franchise

The Best Yoga Mats for Any Practice, According to Instructors

ARTnews is a part of Penske Media Corporation. © 2024 Art Media, LLC. All Rights Reserved.

You are using an outdated browser. Please upgrade your browser to improve your experience and security.

Tuesday, 03 September 2024

Agenda - The Sunday magazine

• Cover Story

State Editions

New art space showcases over 80 renowned indian artists.

: A new permanent art space, Ivana Art, has opened its doors at the Ramada Hotel, promising to be a significant cultural addition to the city. This unique gallery space will feature a rotating exhibition of works by more than 80 renowned Indian artists, offering residents and visitors alike the opportunity to experience a wide range of artistic styles and mediums year-round.

The launch of Ivana Art is a major milestone for Jamshedpur's burgeoning arts scene, as it provides a dedicated platform for showcasing the talent of Indian artists. The gallery aims to celebrate the richness and diversity of Indian art, presenting works that span contemporary, modern, and traditional styles. Visitors can expect to see everything from abstract paintings and intricate sculptures to vibrant photographs and mixed-media installations.

Jenny Shah, founder of Ivana Art highlighted Ivana Art's dedication to supporting local and tribal artists, contributing to the preservation and promotion of indigenous art forms. The initiative seeks to weave these unique expressions into the cultural tapestry of India.

At the opening ceremony, Ramada Hotel's management expressed their enthusiasm for this new venture. "We are thrilled to offer a space where art can flourish and be appreciated by the community. Ivana Art is not just a gallery; it's a dynamic cultural hub that will host workshops, artist talks, and community events, making art accessible to all," said an official.

The first exhibition at Ivana Art features a curated selection of paintings, sculptures, and digital art, reflecting the varied and dynamic nature of Indian art today. The gallery's programming promises to keep the exhibits fresh and engaging, with plans to rotate collections regularly and introduce new artists to the space.

Ivana Art at the Ramada Hotel is open to the public and welcomes art lovers of all ages. With this new cultural landmark, Jamshedpur is set to become a more vibrant and inclusive city for the arts.

Trending News

Para-athletes Preethi, Nishad win silver and bronze; shuttlers Suhas, Manisha assure medals

Kylian Mbappé ends scoring drought in Spanish league and scores 2 in Real Madrid's win over Betis

PSG keeps perfect start to French league after Mbappe's departure

I&B Ministry summons Netflix content head over IC-814 series row

Pak economy moving towards stability: Shehbaz Sharif

Second case against director Ranjith on male actor's complaint

Defending champion Novak Djokovic is shocked at the US Open one night after Carlos Alcaraz"s loss

Avani becomes first Indian woman to win two Paralympic gold

Vistara to operate last flight under its brand on Nov 11

Mbappé scoreless again as Madrid is held to another draw in Spanish league, this time at Las Palmas

No. 1 seeds Sinner, Swiatek move into the third round at the US Open; Alcaraz, Osaka eliminated

Govt committed to supporting sports: PM Modi on National Sports Day

Dna test confirms rape charges against sp leader, gomti river to have new ghat in naimisharanya for convenience of tourists, rule of law has changed perception of up: yogi, take effective steps to check human-wildlife conflict: cm, 2-year-old girl killed, elderly woman injured in wolf attacks, acb takes cognisance of plaint against corruption in health dept, sunday edition, thetuningfork | iq eq and sq, moscow film festival kicks off with focus on indian cinema, from corporate success to culinary stardom | a journey into the world of food blogging and awards, a tribute to tradition | guru shovana narayan's 75 years of kathak mastery, a celebration of india’s timeless craftsmanship, janmashtami: the celebration of divine birth, e-mail this link to a friend..

Try AI-powered search

Billionaire space travel heads for a new frontier

Flying on elon musk’s spaceship; sponsored by doritos.

Editor’s note (August 28th 2024): The mission was postponed a few hours before it was due to launch due to worries about bad weather.

E NTHUSIASTS HAVE been paying to fly into space for more than two decades. In 2001 Dennis Tito, an American engineer and investor, paid $20m ($35.6m in today’s money) for a jolly to the International Space Station ( ISS ). A string of other wealthy passengers followed. Charles Simonyi, another American businessman, even managed to go twice, once in 2007 and again in 2009.

But it is Jared Isaacman—yet another American businessman—who looks set to take Mr Simonyi’s frequent-flyer crown. Mr Isaacman has already been to orbit once: he funded a private mission that flew in 2021. He has three more trips planned as part of his “Polaris Programme”. If all goes according to plan, the first of those flights—Polaris Dawn—will blast off from Florida on August 28th.

While most previous private astronauts were tourists, in it largely for a good time, Mr Isaacman talks of loftier goals. His three Polaris missions have been designed in collaboration with SpaceX, the world’s biggest rocket company, which is supplying both the Falcon 9 rocket and the Dragon spaceship that the crew will live in. SpaceX was founded to make humans a multi-planetary species by enabling the colonisation of Mars. By testing various new technologies, Mr Isaacman hopes to help it with that goal.

In the half-century since the final Apollo moon mission in 1972, for instance, no human has been more than a few hundred kilometres above the Earth’s surface. (The ISS orbits at between 370km and 460km up.) Polaris Dawn’s apogee—the highest point it reaches—will be 1,400km, a record for a crewed flight orbiting Earth.

That will take the four-person crew (which, besides Mr Isaacman, consists of Scott Poteet, his business partner, and Anna Menon and Sarah Gillis, both SpaceX employees) through the Van Allen radiation belts. These are regions of space, starting at about 600km up, in which Earth’s magnetic field traps charged particles from the solar wind. Over the five days of their mission, the crew will accumulate a radiation dose equal to about three months aboard the ISS . In a pre-flight briefing Mr Isaacman said the data collected would help inform the design of Mars-bound spacecraft, whose passengers would likewise endure higher radiation doses than most astronauts to date.

On the third day of the mission, Ms Gillis and Mr Isaacman will also attempt the first-ever commercial spacewalk. They will test SpaceX’s new vacuum-rated spacesuits, which are bespoke bits of tailoring ( NASA ’s spacegoers get theirs off the rack), and include technology such as heads-up displays and 3 D -printed helmets. The astronauts will also try to connect to the internet, using a laser link to SpaceX’s constellation of Starlink satellites, which provide high-speed internet access to about 3m users on Earth. If the link works, it could help establish the Starlink network as a cheap, off-the-peg way for spaceships, space-going telescopes or other satellites to beam data to and from the ground.

Much less is known about the second and third Polaris missions. Mr Isaacman had pitched the second one to NASA as a way of servicing the ageing Hubble space telescope, though that plan seems to have foundered. The final mission will forgo the Dragon capsule, instead using a human-safe version of SpaceX’s gigantic Starship spacecraft. This is eventually intended to take people to Mars, and will offer more internal space than the entire ISS .

But not everything about Polaris is so lofty. One of the mission’s sponsors is Doritos, a maker of salty snacks. It has prepared a special version of its chips with an oil-based coating designed to stop their dusty flavouring from drifting away in zero gravity. “We appreciate having a solid snack to eat in space,” said Mr Isaacman on X, a social network. Advertising, it seems, is one space-based industry that is already thriving. ■

Curious about the world? To enjoy our mind-expanding science coverage, sign up to  Simply Science , our weekly subscriber-only newsletter.

Explore more

More from science & technology.

The noisome economics of dung beetles

They are worth millions a year to cattle ranchers

Digital twins are making companies more efficient

They will also help them reap the benefits of advances in AI

Digital twins are enabling scientific innovation

They are being used to simulate everything from bodily organs to planet Earth

Digital twins are speeding up manufacturing

Makers of Formula 1 cars and jet engines are leading the way

Wildfires are getting more frequent and more devastating

Climate change is accelerating the blaze

The world needs codes quantum computers can’t break

America’s standards agency thinks it has identified three

More From Forbes

The art of asking: how effective questioning transforms leadership.

• Share to Facebook
• Share to Twitter
• Share to Linkedin

Keli Frazier-Cox is the founder of Promote Leaders .

As a leader, it can be tempting to fall into the trap of thinking you have all the answers. After all, successful problem-solving and making quick decisions were a big part of getting to where you are in the first place—right? But that’s not the whole story.

Seeking input from people around you is important no matter what your position. This is especially true as we rise in seniority and the problems we face become more complex. Asking questions is a crucial but often overlooked leadership skill that moves us into a space of co-creation—finding the best solution, not just your solution. Engaging your teams, peers and other colleagues builds trust, loyalty and enthusiasm, helping guide everyone toward mutual success.

Questioning Strategies

It’s the leader’s responsibility to create a safe environment for honest questions and answers. We need to challenge our own long-held assumptions and openly invite team members to do the same. How we respond to questions or critiques sets the tone for the group. Asking open-ended questions and proactively seeking feedback is a good start. You may not receive the answers you expect, but stay open to the process and evaluate ideas objectively. Don’t forget to be aware of things like tone of voice and facial expressions.

One-on-one meetings are a great opportunity for direct engagement. They tend to turn into status updates where we just go through a laundry list of to-dos. But if we take a step back, we can use them to ask employees where they see particular gaps and challenges and then jointly come up with solutions moving forward. That way they’re not just a place to build rapport but to clarify tasks and commitments, tapping into the intelligence, creativity and experience of your team members.

‘Strap In’—Fed Suddenly Braced For A U.S. Dollar ‘Crisis’ That’s Predicted To Spark ‘Total Collapse’ And A ‘Critical’ Bitcoin Price ‘Tipping Point’

Trump vs. harris 2024 polls: harris leads by 6 points in latest likely voter survey, viral ‘chase bank glitch’ isn’t the hack people thought it was.

Another opportunity is holding brainstorming sessions, ensuring that everyone present is involved. This means being open to other opinions and encouraging contradictory viewpoints. Here you can use open-ended questions to invite participation, help build consensus and make sure people feel comfortable bringing up potential issues—introverts and extroverts alike. Ask yourself what your true intentions are before you start asking questions. If you show up just to tell everyone else what to do, that’s a delegation session, not brainstorming.

Lessons From Other Professions

We can learn about questioning from a wide range of professions, which can serve as inspiration on how to ask effective questions and build connections in different ways. Journalists, doctors, lawyers and police officers are great examples of this.

Journalists ask questions for a living. These are often short, open-ended questions that encourage people to give expansive answers rooted in their honest, personal experiences. (Radio host Larry King supposedly said one of his secrets for great interviews was never to ask a question that could be answered by a simple “yes” or “no.”) Don’t just give a list of multiple choices. Instead, try phrases like “Tell me about...”

Doctors are known for asking patients the same question multiple times in different ways. Being creative and asking a question from several angles is a good way to gain a deeper understanding of an issue.

Lawyers use this technique as well, although often in more contentious circumstances. Strong follow-up questions help us drill down to more detail and clarity. Every level helps us figure out context first, then the impact of solving a problem and finally how we can eventually reach a solution.

If you’ve ever watched a detective show, you know that one of many police interrogators’ favorite questioning strategies is silence. That unexpected gap in conversation is a great way to draw out information.

This doesn’t mean we should turn into interrogators ourselves, of course. But the power of even just a few seconds of empty space in an interview, a team meeting or a one-on-one can be surprising. Try not to jump in too soon with a follow-up question or solution. Instead, give them some time to process their answers and add more details.

In the end, leaders should think of questions as an opportunity to co-create solutions. No matter how confident you are, you still won’t have all the answers, and it’s critical to bring others into the conversation to reach a better understanding and ensure you’re solving the right problems—together, leveraging the strengths of all your team members.

Forbes Coaches Council is an invitation-only community for leading business and career coaches. Do I qualify?

• Editorial Standards
• Reprints & Permissions

• Student Success
• Research and Innovation
• In the News
• Giving Back
• Honors and Awards

Innovative Flex Factory to Serve Students, Industry Partners Under One Roof

Slated for construction in early 2025, this state-of-the-art facility will combine the Wilson College of Textiles Prototype Lab and the Senior Design Lab in one space. 

Walk into the Prototype Lab on the first floor of the Wilson College of Textiles on any given day, and you’re sure to see a flurry of activity.

You could find a student working with a 3D printer, giving literal shape to a new product concept.

Nearby, an entrepreneur might be researching the next concept they hope to someday bring to market, tapping into the facility’s state-of-the-art sewing or bonding equipment.

“It’s really quite busy,” remarks Andre West , director of NC State’s Zeis Textiles Extension .

But for all its early success since opening last summer, the Prototype Lab is, in many ways, just getting started.

In the coming months, the facility will be at the heart of a major renovation set to bring students, faculty and industry partners under one roof, promising new opportunities for innovation and entrepreneurship.

A major renovation starts in 2025

Starting in February 2025, construction crews will put hammer to nail on an innovative hub soon to be known as the Flex Factory.

Once complete, the 30,000 square foot space will marry the equipment and technical capabilities of the Prototype Lab with the Wilson College’s Senior Design Lab, which today hosts seniors working on capstone projects in the Wilson College’s textile engineering and textile technology programs.

Capable of hosting a diverse array of users and projects, the Flex Factory is seen as a hive for student researchers and entrepreneurs, each of whom will be able to leverage the expertise of Wilson College faculty and staff — and make use of the facility’s state-of-the-art equipment.

“We’re going to be able to provide the space, and the programming, and programming support, for student innovation across campus,” says Bailey Knight , laboratory manager, noting that the facility will be an asset not just to the Wilson College — but also to those throughout the university.

“Obviously, we’ll have a lot of innovation coming from students in our own college,” Knight adds. “But other students from other colleges will be able to take advantage of this prototyping space as well.”

How the Flex Factory will work

Entrepreneurs interested in using the Flex Factory will be able to go online, fill out a form and explain what they’d like to make. Then, West’s team will follow up with the client with details on how the center might be able to help.

Visitors to the Prototype Lab portion of the Flex Factory will be able to make use of the facility’s yarn spinning, fabric cutting, sewing and printing capabilities.

Critically, the facility will also offer users the chance to experiment using high-dollar equipment and tiny quantities of material — both key hurdles to early-stage product development.

“I think of this space as a stepping stone for the startups, or entrepreneurs, to move to the next stage without the huge cost of bearing all that equipment that needs to be bought,” West explains. “We can do that with our skills, with our knowledge, with our teaching capacity.”

Make no mistake, the upcoming renovation will also transform what is, currently, a fairly nondescript-looking space into a state-of-the-art facility, with design plans calling for a concept lab, classrooms and sound-proof rooms necessary for confidential work, such as projects conducted in collaboration with the U.S. Department of Defense.

Altogether, the facility is poised to offer the latest evidence of the entrepreneurial boom on the NC State’s Centennial Campus, says Dean David Hinks, Wilson College.

“The mission of the new Flex Factory is to serve as a catalyst for students across NC State to create new, more sustainable textile-based products and businesses by having access to state-of-the-art equipment, expertise and mentorship,” Hinks says. “It will augment the already outstanding entrepreneurship ecosystem already in place on Centennial Campus and across all colleges at NC State.”

Looking forward

Months before the Flex Factory retrofit has begun, the early results are promising.

The Prototype Lab already boasts a packed schedule, currently supporting more than a dozen projects. In many ways, West says, it’s validated the $8 million in investment from donors and university contributions.

“It’s a proving ground for us at this point,” West says of the Prototype Lab. “Just as much as it’s a proving ground for the projects that we take in.”

Of course, the finished Flex Factory will involve some hard hats and adjustments in the meantime.

Some work in the Prototype Lab will pause while the space undergoes its facelift in 2025 to make it more “cutting edge” and “revolutionary,” as West puts it — from the technical equipment itself to mezzanines and glass windows to make the space open and viewable to passersby.

But for a college that has been around for 125 years, this innovative space appears to be a major step into the future.

“The greatest thing about America is we’re full of entrepreneurs. But you have to give them the space, and you have to give them the opportunities,” West says. “That takes money and space. And that’s what we’re doing.”

• Department of Textile and Apparel Technology and Management
• department of textile engineering chemistry and science
• entrepreneruship
• Wilson College of Textiles
• Zeis Textiles Extension

More From Wilson College of Textiles

Wilson College Research Projects Awarded External Funding 

Wilson College of Textiles Sponsors a Team in the Andrews Launch Accelerator Sparking a New Partnership in Innovation 

Researching Sustainable Dyes for College Credit at NC State 

• Share full article

Advertisement

Supported by

Analyzing the Elements of Art | Five Ways to Think About Space

By Kristin Farr

• Jan. 3, 2018

Welcome to the sixth piece in our Seven Elements of Art series, in which Kristin Farr matches videos from KQED Art School with work from The Times to help students make connections between formal art instruction and our daily visual culture.

Here are the other lessons in the series: shape , form , line , color , texture and value .

How does the transformation of space support communication of an artist’s intentions?

Space is the area in which an artwork is organized, and encompasses both what is inside and what is immediately outside, or around, the work. Space can be filled on a page, a canvas, in a room or outdoors, and it is inherent in any physical artwork.

The use of space and the way it is transformed play a role in conveying a creative message. To begin to understand this element, watch the video at the top of this post. Then practice exploring it further with the five ideas below.

1. Two-Dimensional Works and the Element of Space

After you’ve watched the video at the top of this post, try finding some of the elements you learned about by looking through just one collection of images, The Times’s Year in Illustration 2017 .

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and  log into  your Times account, or  subscribe  for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber?  Log in .

Want all of The Times?  Subscribe .

The Art Assignment is a weekly PBS Digital Studios production hosted by curator Sarah Green. We take you around the U.S. to meet working artists and solicit assignments from them that we can all complete.

• The Art Assignment Season 6
• The Art Assignment Season 5
• The Art Assignment Season 4
• The Art Assignment Season 3
• The Art Assignment Season 2
• The Art Assignment Season 1

Advertisement

The art of space art.

The art and life of Mark di Suvero

Tim Pyle’s conception of the surface of the exoplanet TRAPPIST-1f. Credit: NASA/JPL-Caltech

Between 1952 and 1954, the Nazi rocket scientist Wernher von Braun ran a popular series in Collier’s Weekly called “ Man Will Conquer Space Soon! ”, outlining a manifest-destiny approach to space, the moon, and Mars. The articles were prescient in their analysis of how we might colonize the stars, but what really brought the possibility of human spaceflight to life in the public consciousness were the illustrations: planets, rockets, human settlements. These were rendered by a trio of artists that included Chesley Bonestell, widely considered the father of what we’ve come to call space art. The genre soon bubbled over with breathless visual predictions of our ascent into outer space, wrought with glamor and a childlike wonder, like pulp-fiction covers for what the future was going to be.

People have been painting celestial bodies for thousands of years, but only after World War II, as space programs flourished, did the field evolve into a thriving subgenre, and an occupation in its own right; with new technology came a new lust for imagery. NASA , founded in 1958, has commissioned space art since its inception, and along with the European Space Agency it’s sponsored artists’ residencies over the years. “It could be argued that NASA owes its very existence to space artists,” Jon Ramer, president of the International Association of Astronomical Artists , told me in an email. The IAAA currently stands at 120 members worldwide, and serves as a sort of hub connecting the community. 

NASA had a critical revelation early on: an astonishing discovery means nothing if the public only registers it as an abstraction. We can’t quite photograph black holes, for instance, though we’d very much like to . And most objects in space are either so faint or so distant that even the newest generation of telescopes can’t return images that do them aesthetic justice. Hence the value of artists, who can extrapolate scientific findings into fantastical craters and overlarge moons, their colors dark with science-fiction vibrancy.

We can trace the sparks for today’s space art as far back as Jules Verne, who published his novel Off on a Comet in 1877 with a painting by Paul Dominique Philippoteaux that imagined Saturn as more than just points of light in the sky. Before that, no one was depicting other planets as places you could stand on—places you could look up from rather than to . By the end of the nineteenth century, the astronomer Percival Lowell had begun to publish his series of illustrated books that reflected his claim that the lines he saw on Mars were artificial canals , the work of intelligent Martians. The public imagination quickened. In 1937, the French artist, author, and astronomer Lucien Rudaux published a book illustrated with what he believed the surfaces of other planets to look like. The book caught the attention of Bonestell, who had been working as a special effects artist in Hollywood. He began creating realistic paintings from the perspective of someone standing on the surface of the moon or Titan, publishing his work in Life in 1944. He became the most prominent name in the field, his vision bolstered by the work of a handful of iconic contemporaries such as Ludek Pesek, an artist and astronomer who’d also been inspired by Rudaux.

“Their work, painting places that were really out there—it started convincing people that these places are real,” Ramer told me by phone.

By the early sixties, NASA ’s administrator James Webb was enthusiastically recruiting the necessary talent for formation of a NASA fine-arts program. “An artistic record of this nation’s program of space exploration will have great value for future generations and may make a significant contribution to the history of American art,” he wrote in a 1963 press release announcing the arrival of the agency’s first commissioned drawings.

As the space race progressed, it was inevitable that space art became politicized. The Soviet Union got busy commissioning space art of its own , and the fifties and sixties were rife with propaganda posters (the Politburo being rather more aggressively nationalistic than NASA ). Thousands of space artworks have been produced in the decades since. Ramer says each NASA space center usually has an exhibition of selected works from its own program on display; they’re as popular and beloved today as they were when Webb conceived of them more than fifty years ago.

The prevailing styles today are “rock and ball”—the Bonestell-style planetary landscapes against a backdrop of distant planets and moon—and “swirly,” which refers to more impressionistic work that recalls Van Gogh’s Starry Night . But advances in technology brought advances in design: today you can find photorealistic space art, hardware art (paintings of tech, schematics, and so forth), even sculpture. There was no particular moment that heralded a shift in aesthetic from the postwar space paintings to the ones we have today. The colors gradually became fuller, brighter, with the vibrancy we associate with really good images of nebulas. The transition from overexposed yellows and olive greens came in part from improved telemetric images, but some of it can be attributed to visual trends in the culture; think how orange everything was in the seventies. For the most part, space art in 2017 continues to blend realism with just the right amount of creative flair, much as it did fifty years ago. What’s different now is how much more we know.

The idea of artistic license might seem anathema to astronomy, the epitome of a STEM field, but the factual restrictions imposed on space art are quite plastic. An assignment will come with both technical specifications and a kind of vacuum imposed by their limits. Space art, in other words, is uniquely defined by both hard data and imagination. At the outset of a new project, an artist might be told approximately how large a nebula is, or how far away a planet lives from its star. The artist can incorporate whatever data’s most recently come back from probes and orbiters; whether their assigned portion of Mars has mesas or dust devils or whether there maybe could be snow .

The artists who settle into this peculiar niche tend to arrive circuitously. They’re variously graphic designers, engineers, fine- or experimental-arts grads, self-taught hobbyists, or, in at least one case, former visual-text animators for Jimmy Neutron . They collaborate with science-fiction writers. They’ve sold paintings to renowned astronauts. Most of them render everything digitally or else begin the piece with acrylics and overlay more detail in Photoshop. The work can take months or less than a day.

An artist’s fantasy of the surface of TRAPPIST-1e.

In 2017, when NASA discovered potentially habitable planets orbiting the star TRAPPIST-1, Nature magazine assigned Robert Hurt to design their cover. Hurt knew the planets’ approximate sizes, and he’d read that they were close enough together to be tidally locked. This says something about their temperature gradient and symmetry, allowing for reasonable hypotheses about geology and atmosphere. Even so, most of the details that would make for a vivid illustration are unverifiable. “With most exoplanet work, what we actually know about how it looks can usually be written down on an index card,” Hurt told me. “What we don’t know is vast.” The planets seemed rocky, but some of them could have ice. Maybe there was an ocean world; maybe there were a few. To block out the artwork, he got a bunch of marbles and threw them all over his carpet.

As deep-space data is increasingly culled from super telescopes, hand-rendered images take on a historical significance—soon they’ll comprise the best record of the universe as we believed it to be. One day, we’ll know what the planets of TRAPPIST-1 actually look like, and these drawings will become dated the way flat Earth maps became dated, a product of human imagination and the best information available to us at the time.

“It’s a snapshot of our optimism, in a way,” said Tim Pyle, an artist who works with Hurt at Caltech. “Maybe the chance that a planet is rocky and not a gas giant is only around 50 percent, but that’s how we’ll choose to illustrate it because we’d like to visit it someday, and so we draw it kind of the way we want to believe.”

When the astronaut Alan Bean—a veteran of Apollo 12 , and the fourth man to walk on the moon—resigned from the organization in 1981 to paint space art full-time, he labored over the mathematical and scientific accuracy of his work. And yet he found such precision constricting: he often wanted to paint in purples and yellows and blues . The best way to convey the experience of the moon, he thought, was with color, even though the moon itself is gray.

“If Monet painted what he saw,” he told the  New York Times in 2009 , “we wouldn’t celebrate him today. He painted a little of what he saw but then he painted mostly the way he felt about it.”

The most immediate threat to space art isn’t technological—it’s political. Trump’s space policy is uncertain, but it looks like we might be scaling back NASA ’s role in space exploring the cosmos . Private companies such as SpaceX, which has promised a manned mission to Mars by 2020, could take up the slack, especially if they’re able to interest the public in the prospect of lunar tourism.

None of this would spell the end for space art, though it certainly stands to change it. “Politicians come and go,” Ramer wrote to me, “but every night you can go outside and look up.” Multiple artists I spoke with hoped that SpaceX and its competitors would widen the market for high-profile space art beyond NASA , especially since there are only so many journal covers to go around. The genre is also finally gaining acceptance in the fine-arts world; galleries that once dismissed the genre as merely illustrative are now opening their doors to space artists. One IAAA member is rendering a series of deep-space images—nebulae, galaxies, images inspired by Hubble—as quilts.

Humans have always been able to imagine more for ourselves than we can achieve, and this idealism lends a touch of heartache to space art. We can picture the world that could exist, the lives we could be having. But the exploration of space isn’t an empty daydream—it’s an actionable one. In recent months, faced with grim news about climate change and the National Endowments for the arts and humanities , I’ve found myself drawn to paintings of exoplanets and neighboring stars and other places I’ve never seen. On a purely aesthetic level, I like looking at images designed to foster a sense of wonder, divorced in part from fact. Space art is utopian, in a way: it chooses to believe a planet is rock and not gas just because we’d like to visit it someday. In its imagination and innovation, it asks us to envision the world on a much grander scale than we normally choose to do—and to retain a certain faith in the engine of discovery, no matter what’s happening on Earth. As Ramer wrote to me: “The stars are still there, waiting.”

Kastalia Medrano is a New York–based journalist. 

Space in Art – Complete Guide with Examples and Tips

When we talk about space in art, we do not necessarily mean outer space like the moon and the stars. We’ll go through the definition including examples, show you the different ways on how to create space in art, and also show you how to achieve this effect in your own artworks.

Table of Contents

• 1.1.1 Positive and Negative Space
• 1.1.2 Deep and Shallow Space
• 2.1.1 One-Point Perspective
• 2.1.2 Two-Point Perspective
• 2.1.3 Three Point Perspective
• 2.2 Overlapping
• 2.3 Position
• 2.5 Color and Value
• 3 Creating Some Space
• 4 Learn everything about the Elements of Art
• 5.1 What Is Space in Art?
• 5.2 What Are the Types of Space in Art?
• 5.3 What Is Positive and Negative Space in Visual Art?

What Is Space in Art?

Space is one of the elements of art and is usually described as the “area” that is either around, inside, or between an artwork. Furthermore, there is always an action that takes place on our, the viewers’, part when we engage with a work of art, and in turn, we engage with the space in or around it too.

This can be the space between the subject matter in a painting, a photograph, or graphic art, which we stand in front of and view.

It can also be the physical space around or between a sculpture, which we walk around, or the space inside an architectural structure, which we move in and out of. Below, we will expand on space further, discussing the types of space, and providing various space in art examples to illustrate the above-mentioned ideas.

The Types of Space in Art

There are several types of space in art to be aware of, or that you may have heard of before. All of these can be applied with various techniques to create different pictorial effects in artworks. For example, perspective and depth, with the assistance of other art elements like color , value, or texture, can create a three-dimensional space on a canvas.

Space can emphasize a specific subject matter and lead our gaze towards it.

Furthermore, space in art can also evoke emotional responses and create certain moods due to the manner it is utilized. These effects will inform and direct how we interact with and interpret the overall artwork or structure, in other words, how we interact with the space physically, emotionally, and mentally. Let us look below.

Positive and Negative Space

Positive and negative space can almost be considered as the used and unused space in an artwork. In other words, the positive space is the used, or active, area, which depicts the subject matter, and the negative space is unused or not as active, or “passive”, in its use of the subject matter. For example, think of an apple sketched on a plain white piece of paper. The apple is the used space, so to say, and the main subject; the apple occupies the positive space. The white space around the apple is the negative space.

It is important to remember variety when it comes to positive and negative space, and that negative space is not always completely boring like a white piece of paper.

Negative space can also be utilized to add emphasis to artwork as well as complement the positive space, whether it is through color, value, texture, or any other art element.

However, if we look at the space in between the animals it could be considered the negative space, but the image becomes illusory, and what we perceive as the space between slowly appears active as if it is the shape of a bird and fish. In other words, what appears to be the negative space in between simultaneously becomes the positive space. 

Another example includes Michelangelo’s fresco “The Creation of Adam” (c. 1512) on the Sistine Chapel ceiling in the Vatican City in Rome, Italy. The famous painting depicts Adam on the left and God on the right reaching out to one another, their index fingers just about to touch.

The two figures, God and Adam, who are about to connect, fill up the positive space in this painting, creating burgeoning anticipation of what is about to happen. However, notice the space behind them. The background is seemingly more neutral and does not depict anything that draws our attention to it, which would be considered negative space.

This is also an open space that emphasizes the main focal point, which is the creation of Adam. This is another example of how space can draw our attention to what we need to see in a visual composition. In sculpture, the Recumbent Figure (1938) by Henry Moore is another good example of three-dimensional space.

Here, the figure, made from stone, occupies the positive space and we can see the negative space around it and between the open spaces of it. 

Deep and Shallow Space

Deep and shallow space refers to the degree of depth a picture plane has. For example, deep space, which can also be referred to as three-dimensional space, in a visual composition consists of the foreground , middle ground, and background. We, the viewers, will be able to see the subject matter that is further away as well as closer to us.

With this, three-dimensional space is often described in terms of height, width, and length, providing more depth.

Deep space in art examples includes the Renaissance painting by the Italian Pietro Perugino titled Delivery of the Keys , which is also titled Christ Giving the Keys of the Kingdom to St.Peter , (1481 to 1482). Here we see the illusion of depth created through various techniques like linear and atmospheric perspective .

Another example is Avenue de l’Opéra: Morning Sunshine (1898) by the French Camille Pissarro. Here we see the background becoming blurrier and hazier in color while the foreground is clearer and in focus. This contrast in color creates spatial depth.

Shallow space, which is more related to two-dimensional space, in a visual composition will mostly depict subject matter closer to us, the viewers.

Objects may also appear more in the foreground and not as far into the background often causing the image to appear flatter. Two-dimensional space is often described in terms of having width and length, and with minimal or no depth.

Shallow space in art examples includes the oil paintings The Portuguese (c. 1911) by the Cubist Georges Braque and Ma Jolie (1911 to 1912) by Pablo Picasso. In both paintings, typical of the Cubism art style, we see a minimal distinction between the foreground and background. The space is shallow and seemingly singular, wherein all the subject matter takes place. This Cubist style is exemplary of art that did not follow the traditional rules of perspective and depth in a painting as we see in more three-dimensional paintings.

It also illustrates art that moves away from more realistic depictions toward abstracted or so-called “non-representational” depictions.

How to Create Three-Dimensional Space in Art

Now that you have an idea of the types of space in art, it is also important to understand how these can be created. There are several techniques that we outline below that can be applied in numerous ways to create the effect of three-dimensionality and depth.

Perspective

Various types of perspectives will create the effect or illusion of three dimensions. There are different types of perspectives:

One-Point Perspective

One-point perspective is a technique that creates the illusion of depth by converging parallel lines toward a single vanishing point on the horizon.

Two-Point Perspective

Two-point perspective is a technique where parallel lines along the width and depth of an object are drawn to converge at two separate points on the horizon line, creating a sense of three-dimensional space.

Three Point Perspective

In three-point perspective drawing, a trio of vanishing points—one on the horizon and two typically above and below—work together to render complex dimensions, capturing the height, width, and depth of subjects, ideal for towering forms or aerial perspectives.

Foreshortening is another important technique that many artists apply. It is often described in terms of how the subject matter “recedes” in space. A popular example often mentioned is Lamentation Over the Dead Christ (c. 1480) by Andrea Mantegna. Here, we see how the figure of Jesus Christ appears almost short or as some describe it “compressed” giving the illusion of spatial depth.

Furthermore, this technique also creates a heightened emotional effect and draws us, the viewers, into the composition, as if we are in the scene.

Overlapping

Overlapping refers to when two or more objects are placed one in front of the other in a composition. The object in the forefront will appear closer to us compared to the object that is placed behind it, which will appear further to us.

Position, often also termed placement, can go together with size. When the subject matter is placed in the lower portion or forefront of a visual composition, it will appear larger in size than the subject matter placed in the upper portion, or middle ground to the background, which will appear smaller in size, creating the illusion of depth.

It is also important to remember that there is a myriad of ways to utilize placement and sizing of subject matter.

Objects depicted with smaller dimensions in a composition will seem to be at a greater distance from the observer.

Color and Value

Color and value can also create depth through different techniques like highlights and shading. This can also include giving subject matter less visible detail in terms of color in the background and more detail in the foreground, which will distinguish depth.

This is also where color value can appear lighter in the background and darker as it is more in the foreground.

Creating Some Space

While many of the techniques mostly relate to two-dimensional spaces becoming three-dimensional, like photographs, paintings, or drawings, we must not forget that these techniques can equally apply to already three-dimensional spaces like sculptures or architecture.

Although these are guidelines and tools mentioned, as artists and art historians, it is important to remember there is no “one size fits all” when it comes to creating art. There are many methods and applications that will create space in artworks from abstract to realistic. Furthermore, these guidelines will also provide you with the necessary visual tools when you look at an artwork. We leave you with this question: what is the space around you composed of? 

Learn everything about the Elements of Art

We have written a series about all the elements of art, if you would like to dive a bit deeper into the topic:

• Elements of Art Overview
• Color in Art
• Value in Art
• Line in Art
• Shape in Art
• Form in Art
• Texture in Art

Frequently Asked Questions

Space in art refers to the area in a two-dimensional visual composition like graphic art, painting, or drawing, as well as a three-dimensional sculpture or architectural structure. It comprises the total area surrounding the subject matter, which can be inside, around, in between, below, and above.  

What Are the Types of Space in Art?

There can be positive and negative space in art, as well as deep and shallow space, two-dimensional, three-dimensional, and closed or open spaces. All these types can be created through different techniques like perspective, color, positioning, sizing, and more.

What Is Positive and Negative Space in Visual Art?

Positive space in art is the subject matter of a visual composition. It is the so-called active occupied space, whereas the negative space is the so-called passive space, which is the area around the main subject matter. The negative space is also as important as the positive space because it can create emphasis and set a specific mood. Both types of spaces can also interact with one another.

Alicia du Plessis is a multidisciplinary writer. She completed her Bachelor of Arts degree, majoring in Art History and Classical Civilization, as well as two Honors, namely, in Art History and Education and Development, at the University of KwaZulu-Natal, South Africa. For her main Honors project in Art History, she explored perceptions of the San Bushmen’s identity and the concept of the “Other”. She has also looked at the use of photography in art and how it has been used to portray people’s lives.

Alicia’s other areas of interest in Art History include the process of writing about Art History and how to analyze paintings. Some of her favorite art movements include Impressionism and German Expressionism. She is yet to complete her Masters in Art History (she would like to do this abroad in Europe) having given it some time to first develop more professional experience with the interest to one day lecture it too.

Alicia has been working for artincontext.com since 2021 as an author and art history expert. She has specialized in painting analysis and is covering most of our painting analysis.

Learn more about Alicia du Plessis and the Art in Context Team .

Cite this Article

Alicia, du Plessis, “Space in Art – Complete Guide with Examples and Tips.” Art in Context. July 11, 2022. URL: https://artincontext.org/space-in-art/

du Plessis, A. (2022, 11 July). Space in Art – Complete Guide with Examples and Tips. Art in Context. https://artincontext.org/space-in-art/

du Plessis, Alicia. “Space in Art – Complete Guide with Examples and Tips.” Art in Context , July 11, 2022. https://artincontext.org/space-in-art/ .

Similar Posts

Aztec Art – Masterpieces of the Culhua-Mexica People

Abstract Expressionism – The Artistry of the Abstract Expressionists

Assemblage Art – Explore the Creative Art Form of Assemblages

Memento Mori Art – Symbolic Meditations on Death

Indian Art – Discover the History and Influence of Ancient Indian Art

Meta-Art – The Future of Art and Technology Together

One comment.

really interesting, i will like to have more knowledge or clearification on how artist use space

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

The Most Famous Artists and Artworks

Discover the most famous artists, paintings, sculptors…in all of history! 

MOST FAMOUS ARTISTS AND ARTWORKS

Discover the most famous artists, paintings, sculptors!

ELEMENTS OF ART – OUR NEW EBOOK !

In-depth knowledge of the elements of art in 8 chapters and 125 pages, for enthusiasts, practicing artists, and students.

Now with Discount!

Notan Art Lesson (Positive & Negative Space)

Notan – Expansion of the Square Cut Paper Art Lesson

(positive & negative space).

Positive & Negative Space Reversal-Austin 7th Grade

Notan Expansion of the Square Art Lesson

This positive and negative Notan lesson is geared toward middle school art and higher. I have a less complex lesson that I do with my 5th graders that teaches positive and negative space reversal . Click on the link or the picture below to go to that lesson.

Positive & Negative Space Reversal

• Space is the area: Above,  Below, Between, Within, & Around the main objects in a piece of art. Space is present in 2D & 3D works of art
• Positive Space- the shapes or forms (main objects) in an artwork
• Negative Space- the space that surrounds the main objects. It is the empty or non-interesting space between and around the main objects
• Positive & Negative Space Reversal-visual inverse of the positive and negative spaces.
• Notan is a Japanese word which means “ dark-light “.
• The principle of Notan as it relates to art is defined as the interaction between positive (light) and negative (dark) space.
• The theory behind Notan is: positive and negative areas should complement one another . They must coexist without one dominating the other.
• The Eastern culture from which Notan arose, seeks a more balanced view of the world. The classic yin/yang symbol is a reflection of this desire for balance.
• Symmetrical balance means both sides of an axis line are the same.
• Asymmetrical balance means each side of an axis line are different yet equal.
• The “Expansion of the Square” exercise is a Notan exercise designed to study the interaction of positive and negative space. In order for the exercise to be completed successfully, there must be a feeling of balance created in the design.

ACTIVITY : Notan Project

Create a cut paper collage with a composition where both positive and negative spaces are REVERSED. Use either Symmetrical or Asymmetrical Balance in creating your design. USE GOOD CRAFTSMANSHIP -BE NEAT!!!

Instructions:

1. Choose a color paper for your project.

2. Cut out a 9″ square from the color paper. Use a RULER-These squares should be as perfect as possible, as uneven sides or angles will skew the exercise.

3. LIGHTLY Draw your designs from the edges into the center of the square. Think of the designs as shapes. You MUST cut from all 4 sides. Do not cut off the corners & don’t go past the center of the paper with any designs.

4. Begin cutting shapes from the sides of the square. Immediately put all shapes into your ziplock bag. DO NOT THROW ANYTHING AWAY!!

5. Glue down the main base in the middle of your background either straight or diagonally.

6. Place all the cut shapes back into the square.

7. Flip shapes & glue down in the mirror image from where it was cut. The basic idea is to cut out the piece, flip it out so that it mirrors the cut out space, and then glue it down onto a 18×24” paper.

Here is the Dual Sided Color Paper from Amazon:

10″ Dual Side Embo Construction Paper 10 Colors 100 Sheets

Here are some pictures to start out… 

Notan Expansion of the Square

If you choose to use this lesson or to repost it (written info or photos), please link it back to my blog. Create Art with ME

Other Space Related Lessons:

Positive & Negative Space Reversal (for elementary art)

PLEASE Share this Post:

Related posts.

Black Folk Don't

People of the North

College Behind Bars

A New Leash on Life: The K9s for Warriors Story

Passion Italy

Islands Without Cars

A Season to Remember: The Baseball Boys of Mon City

The Savoy at Christmas

Dream of Italy

Egypt's Treasure Guardians

Weta passport.

Stream tens of thousands of hours of your PBS and local favorites with WETA Passport whenever and wherever you want. Catch up on a single episode or binge-watch full seasons before they air on TV.

• Get WETA Passport

Get the Latest from WETA

An Easy Way to Teach Your Students About Positive and Negative Space

There are some concepts we teach in the art room that seem trickier than others. The first example that comes to mind is perspective. The second is positive and negative space .

Something about seeing the “space around an object” can be very challenging for students to grasp. As students move through the different stages of drawing development, they begin to perceive things in new ways. As their sense of perception shifts, so does their ability to work with that new perception in the art room.

I recently spoke with Margaret about her newest book and its application for the classroom.

Here’s a fun project from the book that would be a great way to help your students envision the concept of negative space.

Although Margaret demonstrates this technique on a canvas tote bag, you could easily adapt it for the classroom, as I’ve done below.

Lesson: Sprayed Stencils

• found nature objects
• watered down paint in spray bottles
• absorbent paper such as watercolor paper or heavy drawing paper

  Lesson Steps

1. Take students outdoors to gather natural materials like feathers, sticks, leaves, flowers, rocks and more. Alternatively, have a collection of things for students to choose from in the art room.

2. Have students arrange their objects lying flat on top of the paper.

• If you’re doing this project in the winter, you can always have students use cut cardboard shapes instead of nature materials.
• You could easily turn this project into a fundraiser for your school by having students create compositions on pre-made blank greeting cards and selling them at back-to-school night or parent-teacher conferences!

Working with a simple stencil is a great way to help your students grasp the idea of negative space. Give it a try in your classroom!    

How do you help students think about positive and negative space?

Do you have any great lessons to share?

Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.

Amanda Heyn

Amanda Heyn is AOEU’s Director of K–12 PD & Media and a former AOEU Writer and elementary art educator. She enjoys creating relevant and engaging professional development just for art teachers.

How to Engage Students on Day One by Redefining Art

Discover How to Teach Responsible Artificial Intelligence (AI) Use in the Art Room

Ways AI Can Make Your Art Teacher Job Easier for Planning and Assessment

Daring Art Crimes for the Art Teacher That You Won’t Be Able to Put Down!

• SECONDARY ART CURRICULUM
• TASK CARDS & BELL RINGERS
• ART HISTORY WORKBOOKS
• PAINTING PACKETS
• VIRTUAL ESCAPES ENTERTAINMENT
• EDUCATIONAL DIGITAL ESCAPES
• ELA and Creativity
• SECONDARY LESSONS
• ELEMENTARY LESSONS
• SKETCH NOTES
• Shipping Info
• Return Policy
• Terms of Use
• Privacy & Security
• Shop Shop By Category SECONDARY ART CURRICULUM TASK CARDS & BELL RINGERS ART HISTORY WORKBOOKS PAINTING PACKETS VIRTUAL ESCAPES ENTERTAINMENT EDUCATIONAL DIGITAL ESCAPES HOMESCHOOL ELA and Creativity SECONDARY LESSONS ELEMENTARY LESSONS SKETCH NOTES

Free Elements of Art Worksheets for Middle or High School Art

These Free Elements of Art activities are the perfect way to support student learning, whether it be middle school, high school or homeschool art students. Students complete activities to demonstrate their knowledge of the Element of Color, Line, Shape, Value, Texture, Space and Form.

Color Worksheets:

Value Worksheets:

Form  Worksheets:

Texture  worksheets:.

Space  Worksheets:

Shape  Worksheets:

Line  Worksheets:

I want to take a moment to say thank you for everything you do for your students, whether it's at a large public high school or middle school, or a small homeschool group. You are making a difference in their lives by introducing them to the arts! 

Click on the image below to download your free resources! Enjoy!

We independently review everything we recommend. When you purchase through our links, we may earn a small commission. This doesn't affect our editorial independence.

What Is A Negative Space Drawing (with 5 Examples and Ideas)

You might have wondered what a negative space drawing is . We hear it here and there, especially in art classes.

What is a negative space drawing? It’s when you draw the space around an object. Instead of directly drawing your main focus, you draw what’s around it! Most of the time, it’s the background.

Again, I feel that this is better understood with the help of visual examples and ideas.

So, let’s talk a bit more about what negative space drawing is and why it’s important to learn about it, along with some examples and even simple ideas for you to start practicing!

Table Of Contents

• 1 Why You Should Do Negative Space Drawings
• 2 Negative And Positive Shapes
• 3.1 Focus On The Value
• 3.2 Inspire Yourself With Popular Negative Space Artwork
• 3.3 Keep The Contrast High
• 4 Negative Space Drawing Examples
• 5 Negative Space Drawing Assignments And Ideas
• 6 Related Questions

Why You Should Do Negative Space Drawings

Negative Drawing is where you draw the negative space of an object.

For example, instead of drawing the chair in front of you, you’re drawing the space around it. In the end, the shape of the chair will appear in the white space you left on the paper.

As opposed to contour drawing , where you focus on an object’s lines and contour, here you focus on masses. You draw or paint big masses around the object you want to portrait, with different values.

In a negative drawing, value also plays a big part, since it’s with it that we create depth and perspective in a piece. Let’s see an example:

As you can see, I drew my character by drawing around it.

Even though it’s very simple, you can still recognize the small, cute mascot of this blog. The white is the positive space!

We make a negative drawing by finding the shapes around our object.

You might’ve noticed in other posts or even in my courses , that I always advise finding the shapes of the object or subject you’re drawing.

In a negative drawing, the concept is the same, except we’re looking for the shapes outside of that object!

The only rule here is that you can’t draw the outline of your object first and then the space around it. That defeats the purpose of negative drawing and negative space.

It is important to draw negative space drawings for two reasons: by drawing the area around the object, you’re creating a foundation for your drawing .

When you’re finished with the negative space, you’ll notice you have a perfect outline and shape of the object you want to draw. After that, you just need to add the details inside of it.

The second reason is if you tend to work better with shapes and masses than lines. This kind of exercise can be really helpful for you if lines aren’t your deal.

I find that some artists prefer to work with lines, while others start their drawings by painting big, irregular shapes that form their drawing and then work from there. I’m the first type, what about you?

It’s important to try different exercises to learn and understand what works better for us. We do not do everything the same way.

Find what you like the most and work your art from there!

Negative And Positive Shapes

The positive shape of a drawing is the primary subject of it, the main focus of the drawing.

In other words, it will probably be the place where you want the viewer’s eyes to look first. A negative shape refers to the area around it, for example, the background.

A lot of times we work with both negative and positive shapes without even noticing. But creating a piece of art with these ideas in mind can create amazing and very balanced pieces of art.

A lot of times we work with both negative and positive shapes without even noticing.

It is very common to see the use of negative and positive space to create optical illusions! Take, for example, Rubin’s Vase !

A concept developed by the Danish psychologist Edgar Rubin, where a visual effect is present to the viewer, with two possible interpretations.

These visual effects are created by making use of negative and positive shapes.

You can not see both these representations at the same time though. Our eyes will either adjust to one or the other, depending on if you’re focusing on the negative shapes or the positive ones.

I find this quite interesting, especially when it’s applied to art! It can create very beautiful but also thoughtful pieces .

These will make you want to look at them, find all the details, and see what more you can find in them!

One of my favorite artists, M.C Escher, actually played with this concept a lot and some of his most famous works are known for it.

Escher worked a lot with optical illusion as well as with negative space.

Negative Space Drawing Tips

If you’re ready to start drawing with negative space, I’m sure you could use some tips!

So here are some tips for doing negative drawing the right way.

Focus On The Value

One of the best tips that I can give you when drawing in negative space is to focus on the value.

Negative drawings don’t have to be just plain black and white, you can change up the values and work with the overall contrast.

We will see a few examples of this in the next section of this article.

Inspire Yourself With Popular Negative Space Artwork

If you really want to get better at drawing with negative space, you’ll want to see what the professionals have done before.

One of the most notorious artists that have done this is M.C. Escher, which we have a few examples of his artwork in the next section.

For now, do watch this video on the Mathematical Art of M.C. Escher by BBC:

It’s a great watch for those curious on this artist’s process.

Keep The Contrast High

We’ve mentioned value before, but I really want to stress this drawing tip .

When doing a negative drawing, you need to focus on high contrast.

This will help your drawing stand out and make it much clearer that you’re going for a negative space drawing!

But let’s see a few examples of negative space drawings below!

Negative Space Drawing Examples

If you read some of my other posts, it comes to no surprise that I really enjoy Escher’s works.

There are quite a lot of examples from him that I wanted to show here. Let’s see a few.

This is a very good example of negative and positive space being used in art.

We notice the change of subject, not only through the shapes but also the transition from black to white.

It’s almost a twist on the Rubin’s Vase, except you can transition from one subject through the other. We are transported from water to air with the use of negative space and value.

A bit more complex, but we can still notice how much negative space takes importance here.

The leaves are drawn mostly by drawing the space around them. They do have details in them, but you can immediately tell what they are, by simply looking to the shape that the negative space creates!

Very similar to the first example, but I added this one mainly to point out that you don’t necessarily need to make a negative space drawing by using black and white only. Feel free to experiment with color as well!

Be creative with negative space drawing! Again, this can be something that is part of your own artistic style . Use negative space to invoke the idea of something. At first glance, that object isn’t really there, but you can see it because of what is drawn around it.

Feel free to experiment with color as well!

Take the example of Kei Megure and their ‘Bikini Babes’ series! The swimsuits are a focus on these drawings, but they’re not directly drawn. They’re visible through the bodies that were drawn instead!

Remember that a negative space drawing can be as complex or as simple as you want.

Negative space drawing can be patterns and shapes, but it can also be animals, plants, people, and others. It can have color, be made in black and white, or both!

Here are two more examples by tattoo artist Martynas Šnioka

View this post on Instagram Cover up #royalsnappingartists #tat #tattoo #tattrx #tattooed #tattooer #tattooart #the_inkmasters #tattooistartmag #ink #inked #igdraws #inkedmag #inkjunkeyz #photooftheday #nawden #newink #newtraditional #bodyart #handdrawn #design #dotism #daily__art #dotsandpatterns #sweettat #superbtattoos #superb_tattoos #artofdrawingg #artmotive A post shared by Martynas Šnioka (@shnioka) on Oct 9, 2015 at 3:38am PDT

And by Victor J Webster

View this post on Instagram Freehand patterns for Patrick @eastrivertattoo, Brooklyn. A post shared by Victor J Webster (@victorjwebstertattoo) on Mar 13, 2018 at 8:25am PDT

Negative Space Drawing Assignments And Ideas

If you’re interested in trying your hand at negative space drawing, but don’t know where to start, then I got you!

You can do these drawings with almost anything, and most of the time, you have what you need at home!

Let’s see some ideas to start drawing negative space drawing:

• Plants and Flowers! I’ll be very honest here, drawings plants, in general, are quite hard for me. But negative space drawing is actually great to learn how to draw them and to simplify the process. Start with very simple plants, with no flowers and big leaves. If you have plants at home, grab the vase and put it right in front of a window where the sun is shining. This way, the sun will hit the plant and you’ll see it mostly as a big shape. Now just draw what you see! You can also look for pictures online, on Pinterest for example or go for a walk in a garden and draw the plants you encounter.
• Vases, mugs, goblets, and glasses. Certainly, you have a few of these at home, pick them up and draw them. If it makes it easier for you, take photos, convert them to black and white or grayscale. Now you just need to draw what you see on the photo. Remember that what you’re drawing here is the space around the object! Otherwise, it’s not negative space anymore. Again, you can also look for pictures online and use them as a reference .
• Silhouettes of animals and people. Don’t worry about details just yet. Take pictures of yourself in different poses. Take photos of people while you’re at the cafe or somewhere else. Look for pictures online, SenshiStock’s deviantart page is a great place to look for any kind of poses! The same applies to animals, take photos of your pets or find some online. Draw their silhouettes in different poses. Just a simple background and a white silhouette. As you get more confident try to add more details!
• Chairs and stools. Again this is something we have at home and they make great models for negative space drawing. Put them against a white wall or against the sun. Draw them!

I highly recommend using the light of your home or a clean background like a wall when starting negative space drawings.

It makes it easier to understand the shape of the object and how to draw it.

You can also take pictures or grab images from the internet, convert them to black and white, or crop the background.

The most important is to understand the shape you’re drawing.

This is the first step. If the background has too much happening, it makes it harder for you to distinguish the object from the background. Start simple and grow from there!

Related Questions

Is negative space the background? Negative space is usually used as a neutral background, to strengthen the main focus of the piece. But this is not always the case. Take the example of Kei Megure’s work shown above. There’s background, there’s a body that was drawn (negative shapes) and finally the positive shapes created by it!

What is the difference between negative and positive space? Positive space is the focus of the drawing, what you want your viewers to look at, while negative space is the space around it.

What is negative space photography? Also called white space, negative space in photography serves to give breathing room to a picture. If a picture as too many things going on, it becomes too cluttered and the viewer doesn’t know where to focus. It works very similarly as in drawing, but here you’re capturing the scene by taking a photo of it.

As always, I highly recommend using good reference to learn any new skill such as this one, negative drawing.

Patricia Caldeira is the main writer here at Don Corgi. She's an art teacher with over 20.000 happy students across many platforms and courses!

Enjoy your stay and as always: Keep on drawing!

Related Posts:

Leave a Comment Cancel reply

Please log in to save materials. Log in

• Resource Library
• Art Assignment
• Art Project
• Positive and Negative Space

Project Handout

Positive/negative space art, create animal or hero shape design .

For this assignment, you will be creating an Animal or Hero design using only shapes and positive and negative space.  Follow the steps below to complete the assignment.

Your animal or hero will Include the following features: 

• Use a white sheet of paper. You're drawing needs to fill a regular 8.5x11 size paper or be bigger. 
• Your choice of animal or super hero drawn with only shapes
• Your shapes will be filled in with black Sharpie or colored in with marker, colored pencil, or paint. Your choice.  

Step 1: Introduction

• Talk about positive and negative shapes and space in art and it's importance.
• Find examples of art throught the ages that works with positive an negative space. Find simple examples that make it easier for studetns to see. 
• Have students reaserach an aminal or hero they want to draw and get started on thumbnail sketches. 

S tep 2 : Look through these student examples of artwork using only shapes and positive and negative space to get ideas of what you want to create for your project.       

The Art Assignment is a book!

New assignments, along with a selection gathered during the course of making the series, is available for sale in the usual places books are sold. if your favorite local book shop or library doesn’t have it in stock, ask for it, you are an artist includes over 50 assignments from some of the most innovative artists making work today. you’ll learn about why these artists are offering each assignment, what works from art history inform the activity, and see some of the outstanding responses that have been made to the assignments. it also offers a plethora of new tips and cheats and variations., made something and want to share it post to instagram with #youareanartist, home    about   assignments   faq, episodes:  assignments    art cooking   special topics   the case for art trips better know.

• all classes
• art teacher resource
• art vocabulary
• reflection paper
• shopping list

WI State Standards:

• AA Cr10h Investigate: Engage in critical thinking, problem solving, and research through elements and principles of art and design studio practices and processes. (aesthetics / problem solving)
• AA Cr11h Plan: Formulate original concepts by practice, experimentation, and revision. (planning/experimentation)
• AA Cr12h Make: Create works of art that introduce students to media, care of tools, and basic craftsmanship skills. (skills)

what will you learn?

The elements and principles of design are the building blocks used to create a work of art.

Elements of Art are the visual "tools" that artists use to create an art work - they are what makes up an image or an art object: line, shape/form, value, color, space, and texture.

Principles of Design are the ways artists use the Elements of Art in an artwork - this is "what we do with the Elements" - how we arrange them, how we balance them, what is being emphasized, etc. The principles are: balance, contrast, repetition, emphasis, and unity.

elements of art

Elements of Art are the visual "tools" that artists use to create an art work

Artists manipulate these elements, mix them in with principles of design and compose a piece of art. Not every work has every last one of these elements contained within it, but there are always at least two present.

For example, a sculptor, by default, has to have both form and space in a sculpture, because these elements are three-dimensional. They can also be made to appear in two-dimensional works through the use of perspective and shading.

There are six Elements of Art:

• Shape / Form

principles of design

Principles of Design are the ways artists use and arrange the Elements of Art in a composition.

The Principles of design is what we do to the elements of art. How we apply the Principles of design determines how successful we are in creating a work of art.

ASSIGNMENTS

Strange noise...

Imagination drawings

Limited drawing

Popcorn factory

About me Mind Map

formative assignments (practice)

Line Repetition Design

Drawing with lines

Lines & Emotions

summative assignment

Focal point line drawing

Tangram basics

Tangram images

Name design

Hand study 1

Hand study 2

Flower study

Colored pencils

summative assignments

Tessellations

Value scale

Form construction & shading

Observational drawing

Grid drawing

White on Black

Half picture

Cutout shading

Pointillism

Layers and holes

Scratch art

Photorealism

Ribbon design

semester 1 evaluation

focus on value

focus on coloring skills

portfolio assessment

Landscape coloring

Color wheel practice

Color wheel

Color schemes

Practice color scheme

Color scheme designs

Color scheme triptych

color cubes

obscure color wheel

Monochromatic painting

Complementary painting

color scheme painting

color scheme portrait

1 point perspective

1 pt. perspective

additional w/s

Checkerboard

Post in perspective

1 pt grid plan

Name in perspective

Room in perspective

Buildings in 1 pt. perspective

2 point perspective

2 pt perspective

2 pt grid plan

3 point perspective

3 pt perspective

city block with a story

Texture Study

Textured apples

Texture patterns

Textured cylinder

Creative patterns

Optical design

Textured circles

semester 2 evaluation

skills assessment

focus on 3 elements

Balances design

Printmaking

pattern problem

patterns experiment

Pattern design

Subway train

Double drawing

Linoleum printing

Oil pastels

Wisconsin essential standards rubric

1. All assignments must be completed on or before the due date. 2. Unfinished artwork is graded as such. 3. If you are absent, it is your responsibility to make up all work. You can sign out art supplies if needed. 4. If your project requires extra time to be completed, you have to make arrangements with me prior the due date. This is your responsibility. 5. Each project has a rubric with specific requirements and guidelines. Follow them. 6. Unless an assignment specifically requires copying, it will be interpreted in the same manner as plagiarism. 7. You are also graded for your in-class studio work.

CLASSROOM RULES

1. Food, drinks, candy, gum are not allowed in the Art rooms. A bottle of WATER is permitted in room 206 (only). 2. Cell phones are not allowed at any time. Phones should be turned off and put away. 3. Be in the room before the bell rings. Dropping your stuff and leaving does not qualify you as being on time. 4. Sit at your assigned seat unless I give you OK to move. That means you do not walk around the room during the class. 5. Talk quietly with students at your table. Do not talk during the instructional time. 6. Draw, paint, etc. on your artwork only! 7. Use materials from your tote-tray only... don't go into other people's trays. 8. You can bring your work home anytime. You are responsible for having it back next day. 9. If you must swear, please do it elsewhere... Thanks. 10. You are responsible for cleaning your work area and the tools that you used. 11. If you are in the Graphics lab, use the printers for the current ART assignments only!!! 12. Encourage your fellow classmates in a positive way... treat them fairly and nicely. This room should be a fun and comfortable place for everyone.