Featured in Jan Browns bestselling book, The Da Vinci code, the number phi is arguably one of the most popular numbers in existence. With it’s staggering number of names ranging from the Divine ratio to the Golden Mean, phi demonstrates incredible connections and patterns in nature prominently evident facial composition, logo design, and artwork done by the renaissance artist Leonardo Da Vinci .
The Golden Ratio is astoundingly prominent in facial dispositions in humans, some basic examples include side of face to inside of near eye to opposite of face, inside of eyes to face width, center to inner outside of eye to width of face, outside of eyes to outside of eyebrows to face width, and hundreds of other observable ratios regarding human …show more content…
Many studies such as one conducted by PhiMatrix Software exemplify that Phi creates a visually appealing and attractive design to almost every observed art piece in existence including company logos. Product logos must make a positive and memorable impact on both the subconscious and the conscious minds of consumers, therefore it is no surprise phi proportions are found in many logo designs of major companies. Phi is incontestably an important piece in designing logos that will successfully market to the …show more content…
Leonardo Da VInci is widely associated with the Golden ratio. His association was further strengthened by Jan Brown’s bestselling novel “The Da Vinci” code, a literary masterpiece that contains crucial plot points revolving around phi and the fibonacci sequence. However Da Vinci's association with the number runs far deeper than a mere novel. Da Vinci illustrated Luca Pacioli’s “De Divina Proportione” (The Divine Proportion). The title of this intriguing literary work is an alternate name for the ever so famous phi. The book, published in 1509 contains wonderfully illustrated geometric solids and scripts in calligraphy, all courtesy of Leonardo Da Vinci. In this publication, Pacioli writes about the application of the divine proportion in artwork and theorizes that it is what makes art pieces appealing to the human eye. Da Vinci’s use of the golden ratio is not only evident in Pacioli’s book, but in his own works as well. In Da Vinci’s rendition of “The Annunciation” painted from 1472-1473, the entryway of the courtyard as well as many other elements of the composition show the ratios are very similar to those of
The Golden Ratio is astoundingly prominent in facial dispositions in humans, some basic examples include side of face to inside of near eye to opposite of face, inside of eyes to face width, center to inner outside of eye to width of face, outside of eyes to outside of eyebrows to face width, and hundreds of other observable ratios regarding human …show more content…
Many studies such as one conducted by PhiMatrix Software exemplify that Phi creates a visually appealing and attractive design to almost every observed art piece in existence including company logos. Product logos must make a positive and memorable impact on both the subconscious and the conscious minds of consumers, therefore it is no surprise phi proportions are found in many logo designs of major companies. Phi is incontestably an important piece in designing logos that will successfully market to the …show more content…
Leonardo Da VInci is widely associated with the Golden ratio. His association was further strengthened by Jan Brown’s bestselling novel “The Da Vinci” code, a literary masterpiece that contains crucial plot points revolving around phi and the fibonacci sequence. However Da Vinci's association with the number runs far deeper than a mere novel. Da Vinci illustrated Luca Pacioli’s “De Divina Proportione” (The Divine Proportion). The title of this intriguing literary work is an alternate name for the ever so famous phi. The book, published in 1509 contains wonderfully illustrated geometric solids and scripts in calligraphy, all courtesy of Leonardo Da Vinci. In this publication, Pacioli writes about the application of the divine proportion in artwork and theorizes that it is what makes art pieces appealing to the human eye. Da Vinci’s use of the golden ratio is not only evident in Pacioli’s book, but in his own works as well. In Da Vinci’s rendition of “The Annunciation” painted from 1472-1473, the entryway of the courtyard as well as many other elements of the composition show the ratios are very similar to those of