- Table View
- List View
Take Flowers instead of Grenades- by Banksy (UEB uncontracted)
by RnibThis image is based on graffiti (street art) by publicity-shy Bristol artist Banksy. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image shows a demonstrator or rioter about to throw a bunch of flowers. He is depicted using areas of solid black and white paint. The figure of a young man is seen from the front with his head facing to the right. His head is in the top centre of the page. He wears a baseball cap with its peak to the left and his mouth and nose are masked by a scarf. Down the page his body is leaning to the left and he has his arm on the right stretched out horizontally with his fingers pointing to the right. The arm to the left of his body is held out and bent up at the elbow with his hand, on the far left centre of the page. He is holding a bunch of flowers wrapped in paper with their stalks at the bottom and the yellow, pink and blue flower heads at the top. Further down the page from his body are the figures legs spread out to the left and right. The image has been created using a stencil technique. The areas of the image that will be dark in the final image are cut out of a sheet of thin card, to leave holes in the card. The card is then placed flat against the surface where the image is to be put and paint is sprayed or brushed through the holes. The card is then removed, leaving paint where the holes have been. The dark parts of the image on this page are the figures hat, chest, arms, and boots.
Take Flowers instead of Grenades- by Banksy (large print)
by RnibThis image is based on graffiti (street art) by publicity-shy Bristol artist Banksy. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image shows a demonstrator or rioter about to throw a bunch of flowers. He is depicted using areas of solid black and white paint. The figure of a young man is seen from the front with his head facing to the right. His head is in the top centre of the page. He wears a baseball cap with its peak to the left and his mouth and nose are masked by a scarf. Down the page his body is leaning to the left and he has his arm on the right stretched out horizontally with his fingers pointing to the right. The arm to the left of his body is held out and bent up at the elbow with his hand, on the far left centre of the page. He is holding a bunch of flowers wrapped in paper with their stalks at the bottom and the yellow, pink and blue flower heads at the top. Further down the page from his body are the figures legs spread out to the left and right. The image has been created using a stencil technique. The areas of the image that will be dark in the final image are cut out of a sheet of thin card, to leave holes in the card. The card is then placed flat against the surface where the image is to be put and paint is sprayed or brushed through the holes. The card is then removed, leaving paint where the holes have been. The dark parts of the image on this page are the figures hat, chest, arms, and boots.
Sunflowers by Vincent van Gogh, 1888 - Multi-page image (UEB uncontracted)
by RnibStill Life: Vase with Fourteen Sunflowers"" by Vincent Van Gogh, 1889: This complex painting has been broken down into five separate images to enable its components to be identified more easily. A single sunflower is also shown to demonstrate a typical flower of this type. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. Images 2 to 5 have a dashed image border to show where the image finishes. At the bottom of the images 2 to 5 is a strong horizontal line which represents the back edge of the table and the start of the wall surface. The final image in the sequence shows the artwork in its entirety. A single sunflower in close-up: This picture shows a close-up of a single sunflower. A stem starts in the centre bottom of the page and leads up the page with two leaves (one on each side of the stem) to a large sunflower head in the centre of the page. The centre of the flower head is solid, representing the dark area of seeds, and this particular flower has a circular band of a lighter colour around the central part. The whole head is surrounded by slim, overlapping petals. The position of the six orange sunflowers: The image shows the vase of flowers and the position of only six of the fourteen flowers, those with dense rounded orange-coloured heads. The rounded vase is in the bottom centre of the page. The solid black circles show the centre of each flower head, surrounded by approximately circular areas of petals. Some of the flowers are touching or overlapping each other, and some, but not all of the stems are visible. The flower on the right-hand side has a single leaf hanging below the flower head. The position of the eight yellow sunflowers: This image shows the vase and the position of the remaining eight of the fourteen sunflowers, those with more separated bright yellow petals. The centre of each flower head is shown as solid circles, and some of the flowers have a circular band of another colour around the central part. The shape created by the petals is more jagged than the other flowers in the vase. Again, some flowers are touching or overlapping each other, and some stems, but not all are visible. The position of all flower heads: The image shows the vase and the location of all of the fourteen flowers, showing just the stems and central part of the flower head (no petals are shown on this image). The whole painting: This image shows the whole painting, the vase and all fourteen sunflowers, complete with the areas of the petals. There is also a flower bud that is still green shown just to the left of the vase. The complexity of this image means that it may be difficult to interpret tactually, but the prior separation of the image into its component parts may have helped you to build up the image in your mind.
Sunflowers by Vincent van Gogh, 1888 - Multi-page image (UEB contracted)
by RnibStill Life: Vase with Fourteen Sunflowers"" by Vincent Van Gogh, 1889: This complex painting has been broken down into five separate images to enable its components to be identified more easily. A single sunflower is also shown to demonstrate a typical flower of this type. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. Images 2 to 5 have a dashed image border to show where the image finishes. At the bottom of the images 2 to 5 is a strong horizontal line which represents the back edge of the table and the start of the wall surface. The final image in the sequence shows the artwork in its entirety. A single sunflower in close-up: This picture shows a close-up of a single sunflower. A stem starts in the centre bottom of the page and leads up the page with two leaves (one on each side of the stem) to a large sunflower head in the centre of the page. The centre of the flower head is solid, representing the dark area of seeds, and this particular flower has a circular band of a lighter colour around the central part. The whole head is surrounded by slim, overlapping petals. The position of the six orange sunflowers: The image shows the vase of flowers and the position of only six of the fourteen flowers, those with dense rounded orange-coloured heads. The rounded vase is in the bottom centre of the page. The solid black circles show the centre of each flower head, surrounded by approximately circular areas of petals. Some of the flowers are touching or overlapping each other, and some, but not all of the stems are visible. The flower on the right-hand side has a single leaf hanging below the flower head. The position of the eight yellow sunflowers: This image shows the vase and the position of the remaining eight of the fourteen sunflowers, those with more separated bright yellow petals. The centre of each flower head is shown as solid circles, and some of the flowers have a circular band of another colour around the central part. The shape created by the petals is more jagged than the other flowers in the vase. Again, some flowers are touching or overlapping each other, and some stems, but not all are visible. The position of all flower heads: The image shows the vase and the location of all of the fourteen flowers, showing just the stems and central part of the flower head (no petals are shown on this image). The whole painting: This image shows the whole painting, the vase and all fourteen sunflowers, complete with the areas of the petals. There is also a flower bud that is still green shown just to the left of the vase. The complexity of this image means that it may be difficult to interpret tactually, but the prior separation of the image into its component parts may have helped you to build up the image in your mind.
Sunflowers by Vincent van Gogh, 1888 - Multi-page image (large print)
by RnibStill Life: Vase with Fourteen Sunflowers"" by Vincent Van Gogh, 1889: This complex painting has been broken down into five separate images to enable its components to be identified more easily. A single sunflower is also shown to demonstrate a typical flower of this type. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. Images 2 to 5 have a dashed image border to show where the image finishes. At the bottom of the images 2 to 5 is a strong horizontal line which represents the back edge of the table and the start of the wall surface. The final image in the sequence shows the artwork in its entirety. A single sunflower in close-up: This picture shows a close-up of a single sunflower. A stem starts in the centre bottom of the page and leads up the page with two leaves (one on each side of the stem) to a large sunflower head in the centre of the page. The centre of the flower head is solid, representing the dark area of seeds, and this particular flower has a circular band of a lighter colour around the central part. The whole head is surrounded by slim, overlapping petals. The position of the six orange sunflowers: The image shows the vase of flowers and the position of only six of the fourteen flowers, those with dense rounded orange-coloured heads. The rounded vase is in the bottom centre of the page. The solid black circles show the centre of each flower head, surrounded by approximately circular areas of petals. Some of the flowers are touching or overlapping each other, and some, but not all of the stems are visible. The flower on the right-hand side has a single leaf hanging below the flower head. The position of the eight yellow sunflowers: This image shows the vase and the position of the remaining eight of the fourteen sunflowers, those with more separated bright yellow petals. The centre of each flower head is shown as solid circles, and some of the flowers have a circular band of another colour around the central part. The shape created by the petals is more jagged than the other flowers in the vase. Again, some flowers are touching or overlapping each other, and some stems, but not all are visible. The position of all flower heads: The image shows the vase and the location of all of the fourteen flowers, showing just the stems and central part of the flower head (no petals are shown on this image). The whole painting: This image shows the whole painting, the vase and all fourteen sunflowers, complete with the areas of the petals. There is also a flower bud that is still green shown just to the left of the vase. The complexity of this image means that it may be difficult to interpret tactually, but the prior separation of the image into its component parts may have helped you to build up the image in your mind.
Sunflowers by Vincent Van Gogh
by RnibThis is one of four paintings of sunflowers dating from August and September 1888 that Van Gogh (1853-1890) painted. Fifteen sunflowers are arranged on a table in a large, rounded earthenware vase. It is placed centrally and fills the bottom fifth of the painting. The sunflowers spread out from the vase and touch the sides and top of the painting. The tactile image follows the lines and shapes in the painting as closely as possible but there has been some simplification particularly with the seed-heads. The sunflowers have been labelled 1 to 14 to help indicate their positions in relation to the description. The fifteenth sunflower in the centre of the arrangement has not been numbered. Three other labels have been added: the table-top (shown with a straight line), the table (no texture area) and the vase with signature (vase outline shown with a thick line; a thinner line dividing the two glazes; a rough texture for the lower glaze; a different texture for the white highlight gleam and the signature in solid shapes). The flower stems, sepals, centre of the seed-heads and individual seeds are shown as solid texture. The petals are shown with a thin line infilled with a texture. The seed-heads are shown with a thin line infilled with a different texture to the petals.
Sticks by Andy Goldsworthy (tactile)
by Markeaton SchoolThis is a tactile image of a sculpture at the side of a lake by British artist and environmentalist Andy Goldsworthy. The sculpture was constructed from sticks stuck into mud and assembled into a vertical grid
Star- to colour in (tactile)
by RnibThis is a tactile picture of a five-pointed star, ready to colour in. Its points are linked to each other by lines that divide the star into six areas: five triangles around the outside, and a pentagon (five-sided shape) in the centre. Each area has a different tactile texture.
Staffordshire Moorlands Pan (SEB)
by RnibThis dark green pan, discovered in Staffordshire in 2003, is made of copper alloy with a Celtic-style pattern inlaid with turquoise, blue, red and yellow-coloured enamel. It is quite small and could fit in the palm of the hand. Originally it may have had a handle, like that of a pan we use today, but is not attached now. The pan is circular with a small rim at the top and has a replacement base as the original base was missing when discovered. The rim and top of the base are nearly the same diameter, with the sides of the pan slightly curved from base to rim. About 5 mm from the rim, is an engraved inscription. Immediately below the inscription and extending to the base, is the Celtic-style patterning. The pattern is damaged in places due to the loss of the enamel but detail can still be clearly seen. It consists of a series of circles containing scrolling leaf shapes around a central flower motif. The tactile image is of a side view of the pan and shows the last 4 words of the inscription, along with 3 of the circles of the Celtic pattern and the triangular shapes between the circles. The rim and sides of the pan are shown as lines. The base is shown as solid texture. The shape of the letters in the inscription have been replicated exactly in a thick line. The Celtic pattern is shown with 4 types of textures - solid for the copper alloy, rough for the turquoise enamel, very rough for the blue enamel and hollows for missing enamel, mainly red. The triangular shapes between the circles are shown as a very rough texture, again for blue enamel.
South East Entrance Gates (SEB)
by RnibThis is a memorial to Godfrey Sykes (1824-1866) one of Sheffield’s famous craftsmen. The tactile image shows the basic shape of the memorial with the bronze relief and three main bands of decoration shown as textures. The metal railings have been shown with the base of the memorial behind them omitted. This monument is by James Gamble and based on some of Sykes' own designs. It was erected in the park in 1875. Terracotta was used to make the original gateways to the park at Winter Street and Western Bank. The Winter Street gateway and lodge were demolished in 1952 in order to construct the University Library. The Western Bank gateway can still be found at location 6 (South East Entrance Gates) of this tour.
Shield Crests (SEB)
by RnibThis page shows images of eight shield crests, four at the top of the page and four at the bottom. At the centre of the page is a large blank outline of a shield shape.
Salvidor Dali (UEB uncontracted)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Salvador Dali (large print)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Salvidor Dali (UEB contracted)
by RnibThis image shows a portrait of Salvador Dali. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. He is facing you so all facial features can be found. Only his head, neck and some of his shoulders are shown. His black hair is cut in a very neat and tidy style. He has large black eyebrows. Down from them he stares with very wide brown eyes, they are nearly popping out. He has a long thin moustache which curves round down from, and just left and right of each eye. It ends in sharp points. He wears a smart jacket and tie. He has a handkerchief poking out of the jacket breast pocket in the bottom right of the image. The image is surrounded by an image border.
Relief Marble Bust of Cinzio Benincasa (SEB)
by RnibThis is a marble relief from the 15 century. The relief is recessed within a moulded frame and has an inscription in carved capital letters in a strip across the base. The outer edge of the frame has large chips in it making the edge uneven. The sitter, a young man in his mid to late twenties, is shown in profile to the right, wearing a high cap encircled with a laurel wreath tied at the back with a ribbon. The tactile image shows the detail of the relief and moulded frame and has a key, in two columns, at the top of the page. The main part of the moulded frame is shown with a solid texture with a line for the inner most part of the frame. The large chips can be felt on the outer edge. The high cap and ribbon is shown with a rough texture which is also used to show the tunic. Solid shapes show the laurel wreath, chain and buttons on the front of the tunic. The facial features have been shown with lines.
Rama (SEB)
by RnibThis is an statue featuring Rama is shown facing the viewer. It is late 19th century from Krishnanagar, Bengal. Rama is standing with his feet slightly apart on a dark brown rectangular plinth. His left arm is held straight down, elevated slightly from his body, with his fingers clenched. His right arm is bent at the elbow and has the open palm of his hand facing upwards. He has a tall golden crown on his head and is wearing dangling earrings. He is painted all over in bright green paint with white and black eyes, red lips, red palms of his hands, short black hair and moustache, golden toenails and golden fingernails. His body is adorned with three golden necklaces of different lengths, two armbands, two wristbands and two anklets. He is wearing knee-length, baggy trousers, called dhoti, made out of a gauze-like material wrapped around the body like a skirt with another piece wrapped around between the legs to make the trouser shape. A twisted fabric rope-like belt is wound around his waist several times. The trousers and belt are a faded cream colour. The tactile image has a thick line to outline Rama and the plinth. Solid texture shows the crown, rope belt, armbands, wristbands, anklets, necklaces, hair, facial features and earrings. Two rough textures show the baggy trousers - one to show the "skirt" and one to show the piece between the legs. Braille labels: crown, earring, necklaces, armband, wristband, dhoti, foot with anklet, open palm, and plinth.
Prince and Princess by Ben Nicholson (SEB)
by RnibThis is a very abstract image, painted in 1932 by Ben Nicholson. It consists of grey lines, black solid shapes, thick stripes and random line hatching and has been created on a scrap piece of wood that adds to the experimental nature of Nicholson's work. The image is roughly divided into two halves - on the left are two playing card shapes (P) and on the right two profiles of heads (B and H), side by side, one on top of the other facing to the left. The card shapes and heads are separated by a patch of what looks like scribbled black lines with a row of vertical thick brown stripes above. The two card shapes have images in them that look like images on actual playing cards - on the right card is the two of clubs (C) and on the left card a queen (Q). The side profiles of the two heads are basic line profile portraits of Ben Nicholson (B) and his future wife, the sculptor Barbara Hepworth (H) and are intertwined so that one cannot work without the other. The tactile image is one and a half times smaller than the actual painting and follows as near as possible the lines and shapes on the image. A texture shows the patch of scribbled black lines with a different texture for the 7 stripes. Solid texture shows the areas of black shading and Nicholson's profile. Key to image: B: Ben Nicholson's profile C: two club shapes on playing card E: eye H: Barbara Hepworth's profile M: mouth N: nose P: playing card shape Q: queen's profile on playing card
Pilgrim Flask (SEB)
by RnibThis little flask would have been bought by a pilgrim to Canterbury, as a souvenir, about 1200-50. On the front of this flask Becket is flanked by two knights. The back bears a Latin inscription: ""Thomas is the best doctor of the worthy sick"". Almost black in colour, this flask is made of an inexpensive lead alloy and consists of a small container with an open neck and a pointed base to which three figures are attached at the front. The figures are larger than the container and are created as one piece joined together by supports that form an upside down horseshoe-shape. On the back of the flask, the container has a pointed shield-shaped embossed scene showing Becket kneeling on the right facing to the right with a knight standing behind him, dressed in chain mail and a Norman helmet, holding a long sword above his head. The tactile image shows the back of the flask with the Latin inscription and is nearly three times larger than the actual object. The horse-shoe shaped supports and metal loops are shown as a texture with no outline. The upper part of the container is shown with the same texture outlined with a thick line. The lower half shows the shield-shaped scene outlined with a thick line on a plain background. The Latin inscription is shown as solid shapes, following the lettering as closely as possible. The two figures within the shield-shape are shown in outline infilled with a second texture with the knight having a solid helmet and sword. The legs of the two knights and Becket are shown with a solid texture that joins directly onto the supports. The knights' helmets and swords are also solid texture, with the swords joining onto the top of the supports on either side. The knights are infilled with the second texture with criss-cross lines for their chain mail tunics. The lower half of Becket is shown with the same texture as the knights with vertical lines showing the patterning on his robe.
Photograph of Eastbourne Coastal Defences, 1940 (SEB)
by RnibThis is a black and white photograph taken in October 1940 that shows two sentries armed with Lee Enfield rifles and a Bren light machine gun. They are standing guard on the cliff tops at Birling Gap near Eastbourne on the south coast of England. Each sentry is wearing battle dress uniform - single-breasted blouse and trousers, anklets, army boots and tin helmet. Both are carrying web equipment including a gas mask, bayonet, water bottle, waterproof cape, small rucksack and pouches for ammunition. Both sentries are looking out to sea with their backs to the camera. They are standing close to the cliff edge with the machine gun set up on the grass between them. Each sentry is at ease, holding his rifle by the barrel, the rifle butt on the ground between his feet. In the distance are the tall white chalk cliffs of Birling Gap. A large coil of barbed wire starts near the sentry on the right and follows the cliff edge into the distance. The beach is directly below the cliffs. This image shows just one of the sentries, the one on the left of the photograph. The other sentry has been left out but his position on the image has been labelled in braille. The other braille labels added are: tin helmet, cape, rucksack, rifle, boot, Bren gun, barbed wire, sea, beach, cliff edge and cliffs.
Panathenic Amphora (UEB uncontracted)
by RnibThis page shows a Panatheniac Amphora, a large Greek ceramic jar. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image fills the page. It shows the large storage jar, 60 to 70 centimetres high, that was filled with ten gallons of olive oil and presented to winners in the Olympic Games. The Amphora is decorated in black on a ground of terra cotta, the natural red colour of the clay from which the jar was made. The jar is seen from the side. At the top of the image is the opening of the jars neck. Down the page is a band of decoration and to each side, a handle for carrying. The jar curves out on either side and has a band showing the images of two Olympic runners. They are seen from the side and each has two legs and one arm shown. Further down the page the jar curves in and there is a wide band of black colour with another band of decoration below this. At the bottom of the page, you can find the jars foot extending out to the right and left.
Panathenic Amphora (UEB contracted)
by RnibThis page shows a Panatheniac Amphora, a large Greek ceramic jar. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image fills the page. It shows the large storage jar, 60 to 70 centimetres high, that was filled with ten gallons of olive oil and presented to winners in the Olympic Games. The Amphora is decorated in black on a ground of terra cotta, the natural red colour of the clay from which the jar was made. The jar is seen from the side. At the top of the image is the opening of the jars neck. Down the page is a band of decoration and to each side, a handle for carrying. The jar curves out on either side and has a band showing the images of two Olympic runners. They are seen from the side and each has two legs and one arm shown. Further down the page the jar curves in and there is a wide band of black colour with another band of decoration below this. At the bottom of the page, you can find the jars foot extending out to the right and left.
Panathenic Amphora (large print)
by RnibThis page shows a Panatheniac Amphora, a large Greek ceramic jar. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image fills the page. It shows the large storage jar, 60 to 70 centimetres high, that was filled with ten gallons of olive oil and presented to winners in the Olympic Games. The Amphora is decorated in black on a ground of terra cotta, the natural red colour of the clay from which the jar was made. The jar is seen from the side. At the top of the image is the opening of the jars neck. Down the page is a band of decoration and to each side, a handle for carrying. The jar curves out on either side and has a band showing the images of two Olympic runners. They are seen from the side and each has two legs and one arm shown. Further down the page the jar curves in and there is a wide band of black colour with another band of decoration below this. At the bottom of the page, you can find the jars foot extending out to the right and left.
Painting of Tam O'Shanter and Nannie (figurehead of Cutty Sark) (SEB)
by RnibCutty Sarks figurehead is Nannie the witch, a character from Robert Burns poem Tam OShanter. This painting, by an unknown artist, depicts Tam on horseback being chased by Nannie, who is wearing her cutty sark. The ships figurehead has her arm outstretched with a horses tail clasped in her hand. When the ship was in port one of the apprentices would place some unpicked rope in her hand to represent Megs tail. In the centre of the painting is Tam riding his white horse Meg across the bridge over the River Doon. Meg's legs are shown striding out, arching over the arch of the bridge that has no sides, in her flight from the pursuing witch Nannie. Tam is wearing a blue bonnet, long brown jacket over a white shirt with red neckerchief round his neck, a paisley shawl around his shoulders, blue trousers and knee-high black and brown riding boots. He is holding his knobbly stick called a kebbie in his right hand above his head and he holds the horse's reins tightly in his left hand close to the bottom of Meg's neck. He turns his head to look back at Nannie who is immediately behind Meg and has managed to grasp Meg's tail in her left hand. Her white cutty sark billows out behind her showing her quick forward movement and her right breast is exposed. Behind Nannie, in the distance, you can see the church with flames leaping from the roof with the figure of a witch on a broomstick and the Devil playing bagpipes silhouetted against the flames. The whole scene is set against a dark sky with bolts of lightening zigzagging across it.
Op Art, November 21 - Toruside by Davidope (UEB uncontracted)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.
Op Art, November 21 - Toruside by Davidope (UEB contracted)
by RnibThis is an image based on a frame (one image taken from a film) from an animated artwork by Hungarian artist Davidope that gives the unsettling optical illusion of moving into a vortex. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. This work is in black and white. It is comprised of black and white tapered stripes that curve in from the outer edges of the square image to meet in the bottom left quarter. In the animation, the stripes rotate around the image in a clockwise direction to give the illusion of a vortex or whirlpool. Op art is painting that explores visual perception and illusion. It is abstract, often only black and white, and the images may appear to move, flash, vibrate or produce strange colour effects. Some people may find images of this sort uncomfortable to view.