| Optical illusion art, also known as op art, is a | | | | There are three kinds of color interaction: |
| mathematically-based genre that produces optical | | | | • Simultaneous contrast – it occurs when one |
| illusions. It uses the repetition of form and color to | | | | area of color is surrounded by another color to create |
| create moiré patterns that give rise to illusions. It | | | | a difference in brightness, but when one area of color |
| also distorts our sense of depth, causing | | | | is larger and/or more intense than the other, the |
| foreground-background confusion, as well as other | | | | contrast is out of balance, appearing to be going in only |
| perplexing effects. | | | | one direction. |
| Optical illusion art requires math ingenuity, technical skills | | | | • Successive contrast – it occurs when one |
| and meticulous planning. Because it manipulates the | | | | color is immediately followed by another color, quickly |
| rules of perception, a viewer trying to decipher such a | | | | changing the viewer’s focus from one area of |
| painting may observe movement, hidden images, | | | | color to the other. |
| three-dimensional forms, and other simulation. | | | | • Reverse contrast – it occurs when the |
| History of Optical Illusion Art | | | | lightness of white, or the darkness of black, seem to |
| In October 1964, Time Magazine first used the term | | | | be spreading into neighboring regions, causing colors to |
| “optical art” in an article that referred to | | | | appear to be spreading into one another. |
| illusionary painting as a new type of art, when, in fact, | | | | Characteristics of Optical Illusion Art |
| works in this style had already been produced 30 | | | | Like all other genres or movements, optical illusion art |
| years prior. One such artwork is the 1938 painting | | | | has recognizable characteristics: |
| entitled ‘Zebras’ by Victor Vasarely, whom | | | | • It fools the eye in various ways. It can give a |
| many consider to be the pioneer of this abstract | | | | viewer the feeling or illusion that the image they are |
| movement. Other artists such as Bridget Riley, | | | | looking at is actually moving and/or multi-dimensional. |
| Jesus-Rafael Soto, Richard Anuszkiewicz, and | | | | Although a viewer is well aware that the image is |
| Francois Morellet also created images that could be | | | | fixed and flat, a different message is sent to the brain. |
| categorized as op art. MC Escher experimented with | | | | • It is non-representational because it is |
| op art, though his work was not viewed as being | | | | geometrically-based in nature. |
| completely abstract ( | | | | • It employs two techniques to create optical |
| How to Create Optical Illusion Art | | | | illusions: perspective and juxtaposition of color, either |
| All the elements used to produce an illusionary piece, | | | | chromatic or achromatic. |
| lines, shapes, and colors, must be carefully selected in | | | | • It requires that the positive and negative space |
| order for their combination to reach the intended | | | | share equal attention in order to produce an image that |
| maximum effect. . | | | | functions properly. |
| There are two main methods of producing op art. | | | | In 1965, a major exhibition called “The Responsive |
| The first, and perhaps most commonly recognized | | | | Eye” truly captured the public’s interest and |
| method, is with the use of lines and pattern, often in | | | | popularized the movement. As a result, op art began |
| black and white, which bring about illusionary images. | | | | to appear everywhere: in print ads, television |
| The second is with color, using the same elements of | | | | advertising, album covers, and even in the fashion |
| pattern, but resulting in additional effects on the | | | | world. |
| viewer’s eye and producing a different dimension. | | | | |