Tuesday, February 28, 2017

Inspiration: Weekly round up

I've decided to make a regular posting of inspiration I find around on the internet most of these are notes on the process of artists and to put them here for the benefit of myself and perhaps someone else who will also be interested in this and take something from it.

Film Analysis 
Rob Ager is the main  inspiration behind this blog, I came across his work a few years ago when I saw his analysis of The Shining on his YouTube page and I've been a fan ever since. Below is an analysis of Silence of the Lambs

Silence of the Lambs analysis

The Shining Analysis

You can find more of his analysis work at http://www.collativelearning.com/.

Andrei Tarkovsky is another inspiration to me and recently Muddy Colors posted a blog article quoting from his book "Sculpting in Time". I did a little bit more digging around and found that his writings are art and the meaning behind art really resonate with me.

“Modern mass culture, aimed at the 'consumer', the civilisation of prosthetics, is crippling people's souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.”

“Never try to convey your idea to the audience - it is a thankless and senseless task. Show them life, and they’ll find within themselves the means to assess and appreciate it.”


Notes from Guillermo Del Toro interview on his writing process:

"I have a mansion that has 9 or 10 libraries organized by me some are visual reference, historical reference, religion, and occult.,, I think that surrounding yourself with the things you love is inspiration. So before I start writing a screenplay I take library carts and go through the libraries and say "oh I want this one" or "maybe this one"...I browse through the artists and writers and I try not to reference things that are a proposal things. I try not to research dry I just try to get inspired by great painters and great writers for a few days or a few weeks if I can afford it and reading, reading and browsing and making notes then I go into serious research.  For example when we were writing the  Strain book I researched how the sewer system in new york is laid out, abandoned subway station ...in the 3rd book I needed to know how empirical Rome was laid out when Caligula was king and at the end of that mental trip you start writing.. I keep notebooks that I have been keeping up since 1990 and I browse these notebooks where I've written down things that I read that was something interesting and reread what I wrote one I was 21 or 23...its a dialogue with myself."

Finally here is a couple of trailers to documentaries I've been checking out and would recommend as inspiration.

The Imposter

The Sunshine Makers

Sunday, February 26, 2017

Alex Grey and my first LSD experience.

Alex Greys art to me has always been an inspiration to me since I came across his art for the Tool cover for Lateralus and the music videos he helped create with Tool including one he collaborated with Chet Zar on called Vicarious. The video posted below is Parabola, which has a segment at the end that I remember blowing me away when I was a kid.

It wasn't until later in life that I came across his book Mission of Art that I learned a huge inspiration behind Alex Grey's artwork was his experiences with LSD:

"Twenty-five years ago I took my first dose of LSD. The experience was so rich and profound, coupled as it was with the meeting of my future wife, Allyson, that there seemed nothing more important than this revelation of infinite love and unity. Being an artist, I felt that this was the only subject worthy of my time and attention. Spiritual and visionary consciousness assumed primary importance as the focal point of my life and art. My creative process was transformed by my experience with entheogens."- Alex Grey

I myself never thought I would take LSD, I've always been afraid of getting black market versions of any chemical drug that someone could make in their bathtub but when a friend who had previously given me ecstasy a few weeks ago also mentioned he could get LSD I felt it was trustworthy enough to try with my girlfriend.

 It started out with us walking around outside on a nearby trail waiting for it to kick in, we noticed that the lights were beginning to look a lot more cinematic and deliberate as we walked for over an hour but it didn't hit us fully until we got back home. I was completely apprehensive about letting myself go into this experience and I thought for sure there would be a light switch going off in my head and all of the sudden I would be a knife wielding maniac from a 1950s weed propaganda film unable to control my violent urges. This idea got stuck in my brain and made it hard for me to let myself fully go into the experience at first.

 I have always been an anxious person and someone who was fundamentally unhappy most of the time. Most of this comes from  old traumatic memories from childhood that I won't get into here that have been stuck in my head long after the event has passed and I realized that these emotions had never really been processed when I took the acid. When the experience started to settle in I realized how I didn't feel like I was out of control on acid, I just felt out of control in my normal everyday life. It made me realize that I've kept this trauma alive in me by putting my attention on it.

When I laid down and closed my eyes I remember the physical sensation of falling into a water well and my consciousness was beginning to connect to something greater than me. Except it looked like a network of Wells that went on forever in each direction and gears that turned and moved the world behind the scenes around me. It appeared to me to be the internet network of our minds connecting to one another and I got this overwhelming sense that life is a game the universe is playing with itself and we slip in and out of this realm after death. Death, at least in that moment, seemed perfectly okay and I felt a great sense of peace come over me that when I pass I will return back to this well of love and understanding.

What I found in the trip was not a light switch but a gradual changing of my perceptions and thought processes to the world around me. I became more and more aware of how my perception of things were fundamentally wrong and that I looked at others as enemies to defend against rather than other people who were also connected to this Well of love and understanding. I started to meditate on the sensations that were taking over my body and tried to observe them rather than react to them with fear or longing. I realized that I could focus my attention on fearing the situation if I wanted to but it wasn't going to change the fact that I was going to be in this mind state for the next 8 hours or so.

I'm up to the possibility that this brief experience is completely made up in my imagination and that none of it is real but its not really important to me that this experience is objectively true but only what it meant to me and trying to hold onto what I got out of that experience is hard, it slips through your fingers like any other moment in time and the feeling of total peace and surrender passes like any other feeling in life. Its not something that can be fully explained in words.

My memory is hazy but at some point I remember we took a shower and as I looked into her eyes after we stepped out of the shower I sat down beside her and was overwhelmed to the point of tears at how beautiful she was to me. She seemed to shine with this same well of love and understanding behind her eyes that I had found in myself just a few moments before. Her love was beautiful to me, something to admire.

"Your love is like a fire I come home to warm my soul by at the end of the day and we are all carrying this fire around with us throughout the world and warm the souls of others with it."  I told her then that I would write her a story a story that would make her remember the night it is we had together and how special it felt to be with her in this corner of time. It felt like we were two wanders of the world taking refuge in our own cave from the cold and wet world outside, our love keeping us warm and alive.

I cried for most of the rest of the night not just for long held pain leaving me but at my own sense of wonder at what it felt like to feel nothing but love coming from within me and how freeing it felt. I knew then what my art would have to be about, and that I want to show people that well inside of me to inspire them to look for it within themselves. Its crazy to think that LSD or any psychedelic can be illegal when there is now so much medical research showing that it helps with PTSD and depression I wouldn't say my trip was any where near as powerful as what is shown here but I can directly connect to his art in a way that I couldn't have before taking LSD.

After a few days of the trip the effects of well being are still there but its easy to see what can be gained from an experience like that can be lost easily within a few days in the obscurity of memory. Was it really that amazing of a trip? Its too easy for us to get lost in the routine of life and to not be present and if there is anything I took from the experience it is that most of the suffering in our lives is unnecessarily created by ourselves. For whatever reason our minds are constantly trying to get out of the moment we are presented with. It seems so mundane. An unoccupied and undisciplined mind reeks havok on itself  because it isn't free to make mindful decisions it can only react to what is going on around it instead of being proactive.

Acid will humble you it will bring you to your knees in wonder at the world around you and your place in it. But just like anything else it passes and its up to us to keep that fire of love alive in our lives rather than letting it be only a momentary high. 

Please feel free to share your own stories about LSD in the comments below.

Sunday, February 19, 2017

Anguish by August Friedrich Albrecht Schenck

We think of ourselves as being outside of mother nature, but this painting is a humbling reminder of what life really is all about. Mother nature is brutal and indifferent and August Friedrich Albrecht Schenck portrays this perfectly in the cold and windy landscape that seems to stretch forever in every direction in the only clear shots between the birds we get. She will either have to abandon the body or die with it from starvation.

We can see the passage of time in the footprints of the crows around the body, and if you look closely you can see the blood trickling from the babies mouth and snow kicked up around its leg that gives us the clue that the calf just recently died.

Composition and Value 
Here we can see how he groups his dark and light shapes together and uses the light value shapes on the top and bottom to hold the central part of the composition. He also makes it balanced by adding bits of dark values in the whitest parts of the piece. This is to create balance and you can see that the picture is asymmetrical in the top half, we see two black shapes in a white shape to the top left and on the bottom we see one bigger, more detailed black shape on the bottom right. this makes the top part feel elevated and the bottom feel heavier.

He frames the mother in a large black shape that comprises most of the sky and the crows. The composition almost feels like a sideways turned hour glass and even though its probably not intentional I had to make notice of the skull shape in the right that you can see in threshold here. Creepy!

He uses the crows flying into the scene to add atmospheric perspective and bring our eye to our focal point and he does the same with the sun rays on the right hitting the edges of the cloud to do the same thing.  Even the beaks of the crows and footsteps all take us to our main focal point which also has the most texture and detail in the whole scene.
The Color
The darker colors of the crows contrasts with the duller yellow/grey of the sky. He uses dull yellow brownish color for both the sky and the mother, however the mother has more brown in her coat.
He makes sure to add visual interest to the darker underbelly of the mother by adding some light values in this area with bits of snow on the fur.

The crows are mostly very dark reds or purples and he goes back and forth throughout the render with both colors and as we move to the back of the crows on the right we get the last bit of rendering in a dull grey yellow within the same range as the yellow on the rest of the piece.


Saturday, February 18, 2017

Dead Men Tell no Tales by Howard Pyle

Narrative and Composition
The narrative in this picture is easily read and understood but he does it in a way as to not make it too obvious that it is uninteresting. We can tell right away that there was a standoff between the man in the back and the two pirates in the foreground of the picture over treasure that they found. If Howard had placed a chest of loot next to them I think it would have taken away from the mood of the picture and added another visual element that would distract from the drama on the man's face who is overlooking the scene.

The man standing with two guns and the face of the pirate who lies dead on the ground is our two main focal points. Like the man standing over the bodies trying to figure out the situation, we too are trying to figure out what happened. To give us a hint he places a shovel to the right that is pointing at the scene of the crime to let us know that this battle was over treasure. This shovel is almost hidden in the sand around it, if it wasn't for the slight highlight of the stick we would miss it since it is so close in color and value to the surrounding sand. He uses both the stick and the gun in the man's left hand to point us to the bodies and particularly the face of the fallen pirate.

If we take the image and throw it into threshold mode in Photoshop we can see Pyle uses a negative space shape in the top of the picture to frame the story and puts another island in the distance to add visual interest. Its important to notice that no element of the story wanders out of this frame and he takes our eye from the back figure who is the next closest light value shape to the body of water and uses a trail to literally walk our eye back to the main focus of the picture. This can work both ways to lead us from or back to the foreground image. Its also important to note that the man who is alive is not visible in threshold mode because the values are contrasted with the white pants of the dead men, but the highlight on the gun is. If he himself was wearing the same kind of white pants there would be no contrast between the characters and would possibly distract from the focal point of the two faces.

The lack of any bright colors in this scene makes it feel like this image takes place in a cloudy, humid day. He uses color in a very minimalist way to direct our eye exactly where he wants it to go without adding too many other colors to conflict with the image. The red in this picture is the only color standing out from the pale dull yellow and brown of the image and you can notice the color gets brighter and more saturated the further away it gets from us. This is atmospheric perspective in the form of color. If all of the red was at the same level of saturation it may not be as effective in leading our eye.

We also see he uses the only orange in the image to frame the head of the pirate laying dead on the ground. Even the orange on the pirate who we cannot see points to the man laying on the ground from the left side of the image. This draws our attention to his face which is an important element of the story since the blood running from his mouth is an important clue to the story. You can also see he does a similar technique with framing the standing man's head with a red cap and yellow green shirt.


Thursday, February 16, 2017

His Muscles Relaxed by Harold Von Schmidt


Like other pieces on this page I cannot comment on the true nature of this story since I do not know what publication this was made for but the gestures of the characters invite us to to tell our own story.  If we were to read the body language of the characters to give us a clue I would start with the character in the back and work clockwise around the picture. The figure in the back doesn't have a look of amusement or pleasure instead he looks disheartened or concerned over the situation as if this did not go the way he hoped it would and his hand in his pocket suggests he was a unwilling participant or spectator.  The other two men with him do not show us their faces but their upright gestures tell us they don't share the same concerns.

Next we move to the guys in the front right. The right guys facial expression tells us that in his eyes he deserved it. He smirks at the man next to him and gestures over his shoulder as if in the middle of cracking a joke. Another hint that the man tied to the post is dead is this is the first guy to fully remove his handkerchief we see so he isn't concerned about anyone seeing his face.  The man next to him though, has the same look on his face as the man in the back. He looks mad as if this situation didn't go the way he hoped it would or that he feels like it went too far.

Next is the man tied to the post. he is the central figure in the painting and has the brightest value here in his gesture shape in the form of an S. His gesture is completely defeated and this gives it contrast to the rest of the gestures but also tells us that their is no sign of life in his body. There is no sign of bodily injury only that his clothes have been ripped from his upper body, and he looks like he is wearing a light colored pants and boots which are not the same as the other men who wear dark pants maybe another hint that he did not know these men.

Next we get the line up of the 4 men on the left. The first 3 guys look like they are in conversation as the center figure holds the whip up for observation. Again we get another figure who does not share the same pleasure as the rest of the gang at the far left end with a figure looking over his shoulder back on the scene.


Interesting enough the man who did the whipping has a different color hat and handkerchief around his mouth then the rest. The purpose of this is to create a focal point for your eyes to move back and forth from the man on the post and the man on the left holding the whip so your mind can make the association between the two. But what would happen if we turned the white handkerchief into blue like the rest and made his hat a different color? How would that change the dynamic of the painting?Above I have done so and if we pay attention to it we see he bleeds into the background and instead our eye has to search longer for the whip.

Here are the value groups in threshold mode and we can see the three main light groups here that tell the basic of our story. We have the man on the right with an expression on his face of how this event did not unfold the way he wanted it to, the dead man tied to the post and the man holding the whip used to beat him. His value shape is brighter then the other men around him to draw attention to him.  We also notice the placement of these light shapes almost ascend and descend like musical notes along the page.


Our first instinct is to immediately look at the character tied to the post that sits slightly to the right of the page making the placement of the characters asymmetrical.  After that our eye then begins to travel around the painting. We have the two right shapes at a downward slope with the man's hat creating the downward slope, then we have a strong vertical shape that breaks the composition of the painting into two segments in the form of the man tied to the post and the post itself. It anchors them all into the scene and gives a reference point for all of the characters walking away both for narrative and perspective purposes.

Then our eyes descend again to the man on the left who is observing the man holding a whip and investigates it. One thing to note about the man holding the whip is he not only has a white handkerchief and a light colored hat but he is also sitting taller in the picture frame then any of the other characters near him.  We descend again to see one of the bandits relishing in the actions they just took we then see the last character looking back on the scene which makes us look to the right towards the body again and to the man in the back. This keeps our eye coming back to the focal point.

He uses mostly greens and blues throughout the piece in order to depict the night scene and dark purples for the shadows in the piece. The blackest parts of this piece are actually in the mans hair who is tied to the post, in order to keep him from fading into the background and the black used in the pants and shadows of the men along the bottom of the page.

The brightest blue used on any of the faces is actually used on the face all the way in the back. The other faces in the front all use muted blues and whites to render their faces.

He uses a light blue, medium blue and dark purple to render the forms of the men. While using a bluish green for the environment light which is likely coming from the moon above them.


Tuesday, February 14, 2017

Pollice Verso by Jean-Léon Gérôme

Pollice Verso or "with a turned thumb" is used as a reference for the gesture of turning ones thumb to determine the fate of the fallen gladiator in battle. Ridley Scott said this painting inspired him to make the movie Gladiator and its not just because of the subject matter, its also because Jean-Léon Gérôme's paintings are considered to depict time in a way that feels very cinematic.

"What is the essence of the director's work? We could define it as sculpting in time."- Andrei Tarkovsky

Jean-Léon Gérôme paints like a film maker and by that I mean he paints the "in between" moments of time that don't exist to the naked eye outside of film but somehow he does exactly this by painting several different moments of time within this piece.
The most obvious suggestion of the passage of time is how the sun rays move across the painting. They feel like pin drops of sunlight that slowly move along the painting as the sun peers around the corner of the back wall of the Colosseum. They give a sense of calm over the whole piece. This helps create the tone of the bottom part of the painting and defines the passage of time here in this area. Along with the sun rays we also see the fallen gladiators and their gestures feel slow in this time frame.

We then look upwards to the women in the top right and the crowd behind them and their rhythm is the complete opposite its full of energy and conviction as they put their thumbs down to determine the fate of the combatant. If we were to edit this painting together like a film we might start out with this depiction of the scene here but also visit each group of people and their reaction to create the suspense in the scene. For example we may start out with a slow shot of the gladiator placing his foot on the throat of his opponent and looking up and over to the crowd. Our next shot might be of the frantic crowd of virgins making gestures to kill the fallen gladiator, Our next shot might then be lingering again on the gladiator on the ground as he reaches out to the crowd for mercy. 

Our final shot would be of the emperor studying the scene while he eats grapes from his bowl. Behind him then our eyes can linger in the crowd which feels like they all have a general movement of back and to the left which does not draw too much attention to itself and lets your eye rest here.  Their positions along the background are all even as if they are all standing at the same height or sitting down. 

The overall tones and colors he uses feels like for the most part they stay in the reds, browns and purples along the bottom. He uses a light opague red for the skin of the opponent begging for mercy and purple on his blood that stains the sand. The skin of the fallen gladiator is pale but still is within the orange range of colors. The same goes for most of the painting but he also uses a lot of different complementary colors to this range with blue greens in the ornamentation of the drape on the wall and the clothing of several spectators. However these complementary colors stay within the same color range.

Its interesting though that he doesn't save these complementary colors for the focal point and they don't distract. They all feel coherent even though they are all along the color range.


The brightest value grouping is for the group of white robed virgin women  to the right of this picture since this is where he wants us to look after we look at the Gladiators. Notice in no other part of the piece is their this many people with the same color robe next to one another. The rest in the background are a variety of different colors of red blues greens and browns.

The other main bright value range is in the figures in the foreground. These characters are laid on top of the darker background of the Colosseum wall to make him pop forward. These two lighter value groups are separated by the large curving wall of the dome. Which creates a very striking and dramatic shape across the page. The final light value group is in the top left corner. This is the last place our eye would go to and is a resting spot for the eye. The lighting and how the sun cuts across the crowd helps define this large dark shape and gives focus to the image. If the whole crowd was in the same value range the sense of time passing would not be achieved and some focus would be lost.


Friday, February 10, 2017

Occupation of Paris by Tom Lovell

"I consider myself a storyteller with a brush. I try to place myself back in imagined situations that would make interesting and appealing pictures. I am intent on producing paintings that relate to the human experience.”- Tom Lovell

I picked this painting originally cause it reminded me of the previous analysis I did of Mead Schaffer's Hide The Body. I don't know anything about Tom Lovell that I didn't read through a Wikipedia or Muddy Colors article, but come to find out he lived in New Rochelle where artists like Norman Rockwell and Mead Schaffer lived.

Since he painted both covers for pulp novels as well as historical portraits this image could have been one he did for National Geographic or an actual story its hard to tell but you do get the chance to come up with your own story by reading the body language of the figures. That is what is so captivating about the picture. This is a portrait of a family fleeing Nazi occupation of Paris as the guards watch suspiciously.

Perhaps they just had a passport approved to leave the country, we don't know but we can tell by
the older woman's body language that she is afraid and feels very uneasy about the situation. Meanwhile the protective mother stands more upright and defensive as she shoots a gaze over her left shoulder. The Guard also gazes at them and you can almost see this as the moment right before the two make eye contact.


The light of the window behind the baby and mother is much stronger in value contrast as well as this window behind them creating the negative space around the mother and baby is glowing and it gives the impression that the baby and mother are emanating light. This actually reminds me of religious depictions of the mother and child. They are glowing almost signifying hope but also being used to keep our eye here since it is the brightest value, but this spot has the highest contrast thanks to the blue clothes of the baby.


The triangular composition becomes more evident once you put the image in Threshold. We see the only white shapes are actually the two triangles in the back and the two rectangular shapes below them in the form of curtains and revealed windows. But these two smaller triangles house the bigger triangle of the overall composition. This could be interpreted as symbolic of the Third Reich since a triangle is often used as a symbol of power over others.

He avoids tangents by overlapping the older woman with the chair in the back and creates atmospheric perspective and the suggestion of a dining hall filled with people with only 5 actual characters. One officer who looks at them suspiciously, a server/butler and three non descriptive people in the back. He only uses the gesture and expressiveness of the pinky finger up to suggest these people are in their element and are not at all scared of the Nazis so they must either be Nazis or a part of the social elite who befriended them. This gesture is enough to make a good contrast with the rest of the tense picture.


The red is obviously the official color of the Third Reich however it serves a double meaning here and feels very ominous like a warning for the protagonists leaving the red makes the scene feel very threatening. Outside of the baby, our main focal point, the palette looks like it stays in the browns, reds and lighter reds.

Notice above how if we go into Adobe Photoshop and use the color balance adjustment to put more Cyan into the picture it immediately feels less threatening. It also feels like it makes it slightly harder to read. Your eyes still go to the family in the front but I found my eye was pulled away from them more.

The red colors dull in the highlighted back curtain to give the illusion of atmospheric perspective.
Here Tom uses the red, brown and green for most of the painting. Green is used for the officers uniforms and the shadow tones on the officers uniforms often have a lot of red in them. Brown and shades of light brown are used for the surrounding area.

The brightest values in the are in the back window, her lipstick, around the child's mouth, the mothers pearl necklace and the scarf of the old lady which brings her forward. He uses highlights on the officers, butler and people in the back to keep them in their visual hierarchy and not to bleed into the background. In fact we still have one other figure silhouetted all the way outside. This gives us again another hint of the space we are in.

The one with the most highlights is the Nazi officer to the right with 18 highlights.

Notice on the chandeler he uses darker values on the right and lighter values on the left since he does not want this element to bleed into the triangle window shape behind it. He uses a few highlights on the right side to suggest where the light is hitting it from.

For more information you can See Muddy Color's book preview of Tom Lovell Illustrator below:



Thursday, February 9, 2017

Hide the Body by Mead Schaeffer.

Hide The Body by Mead Schaeffer

Focus and Composition

The face is the major point of contrast in this illustration which makes it our focal point and it contrasts with our other focal point of the foot on the floor. Every light shape in the painting is pointing upwards towards her from the bottom right where we see the body and contrasting circle shape of the hat.  You can also see the lines pointing back to her on the hips and  her dress line

He keepss our eyes only in this area by obscuring everything else away from our eye. For example the bottom left corner has a corner of a chair or bed frame peering out of the darkness which helps create the jagged shape of the negative space of the light on the left side to keep our eye drifting too much away from her. Obviously the ground to her right is lit but he uses this negative space to keep our attention here and for the vaules in the composition to feel dramatic and nerve wrecking.  so we only have the main details in our attention.

To create visual balance to the big strong shapes on the right he adds a sense of normalcy with two light switches upright and the book shelf built into the wall.


Her reaction feels defensive and surprised, having just killed someone who she must now hide. The overturned painting and chair behind her along with the knocked over books obviously contrast with the candle holder, the light switches to the left and the mirror behind her in terms of order and disorder. There has been a struggle here and the little hints of normalcy in the room create the tension since these elements blend in and fall back to support the main focal point.  He accomplishes more by showing us less so that our imagination can fill in the blanks of what happened here and in what condition he lies. Only using the expression of a dead foot to again point upwards towards her.


Mead chooses an analogous color scheme the range from dark browns, grey and dull greens, and light pinks and deep reds reds. Her skin feels like a dull yellow green again hinting at her emotional state. The drape she is holding to cover the body is the strongest color contrast with her greenish yellow skin and is obviously alluding to the murder that just took place.

The contrast in the details of the books to the right are also interesting. He uses red in the bottom section in order to feel like it fits in with the overall color scheme. note that he didn't use very much green in this area cause it would drag your eye away from the composition. he had to make this part feel like it was a part of the whole even though it could have easily pulled you away since it is not well lit at all. He then offsets the color of the drape by placing the green grey hat and foot at the bottom of the painting.


The strong negative space created by the light shapes in mead's work is always a feature I really like and here he uses it to almost make it feel like it is either symbolic or analogous to the film. The light shape feels like it is cutting across the page like a lightning bolt or it sits in the page like broken jagged glass that could prick you from any angle. It fits well with the subject matter and gives you an indication of her mental state of being on edge and hostile.

He makes the different objects pop forward by using pin points of lights in the bigger shape designs to show overlapping in forms. Notice the light is hitting right on the tip of his shoe, the bottom of the chair, at her waist and right behind both of her arm pits. They are also on the ornamentation on the wall to the left and give us a nice hint of the texture of the wall. This is actually the only real hints of texture on the wall but along with that and the color its enough for our imagination to fill in the details.