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Instructions

Student presentations must have a faculty sponsor.

Abstracts must include a title and a description of the research, scholarship, or creative work. The description should be 150-225 words in length and constructed in a format or style appropriate for the presenter’s discipline.

The following points should be addressed within the selected format or style for the abstract:

  • A clear statement of the problem or question you pursued, or the scholarly goal or creative theme achieved in your work.
  • A brief comment about the significance or uniqueness of the work.
  • A clear description of the methods used to achieve the purpose or goals for the work.
  • A statement of the conclusions, results, outcomes, or recommendations, or if the work is still in progress, the results you expect to report at the event.

Presenter photographs should be head and shoulder shots comparable to passport photos.

Additional Information

More information is available at carthage.edu/celebration-scholars/. The following are members of the Research, Scholarship, and Creativity Committee who are eager to listen to ideas and answer questions:

  • Jun Wang
  • Kim Instenes
  • John Kirk
  • Nora Nickels
  • Andrew Pustina
  • James Ripley

#19: Fibonacci Sequence and Golden Ratio in Visual Art and Media

Name: Olivia Frank
Major: Mathematics
Hometown: Bloomington, IL
Faculty Sponsor: Mark Snavely
Other Sponsors:  
Type of research: Senior thesis

Abstract

Fibonacci Sequence and Golden Ratio in Visual Art and Media 

Have you ever wondered why Sunday morning cartoons are so fun to watch? The answer may be found in the design of the Mona Lisa. The Mona Lisa is unique in the sense that it is mathematically proportionate in a pleasing way. In this study, we will ask whether or not modern cartoons and media utilize the Golden Ratio. To find the answer, we need to look at a man named Leonardo Fibonacci. We will analyze modern media cartoons and animated characters, and using pencil and paper calculations, compare the measurements of the characters to the Golden Ratio. In doing so, we will find if there is a modern significance of the Golden Ratio in developing art forms, or if new patterns have emerged. To find the measurements, we will take the ratio between different areas of a character’s body: for example, the length from shoulder to shoulder or the length from cheek to cheek. These calculations show that of the characters looked at, none followed the influence of the Golden Ratio, however, new patterns were found between animation productions. Going forward, meaningful results may be found by looking at animations made between artists, media houses, and countries to find new patterns that appear that may indicate where the characters originate.

Poster file

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