Chanel Logo in the Golden Ratio

Ates Gulcugil
Contents

Tutorial
The original Chanel logo
Converting the Chanel logo into a golden ratio logo
Is the golden ratio beautiful?
The origin of Fibonacci numbers
Fibonacci layout examples in art
The author
Presentations
 Fair Use Notice
The following is intended for educational purposes and the overall benefit of
the general public. It may contain copyrighted material under the 'Fair Use' law.
 The golden ratio design method practiced in this presentation
is not the author's invention; it is a method the author has
inferred by studying numerous ancient artworks and buildings.
The reader may also wish to check out the author's page where
more artworks are analyzed in terms of the golden ratio:

https://independent.academia.edu/AtesGulcugil
Tutorial
 layout line
Layout is the very first
stage before the
execution of any
building project.

The layout is composed

of orthogonal lines.

The diagram shows the

layout of a house.

layout line
The layout is realized at the construction
site with mason’s string tied to
batter boards.
The mason’s strings
(layout lines) that
will mark the edges
of the walls are
suspended using the
batter boards
that are temporary
wooden
frameworks.
The layout of a house

mason’s string
Batter
(layout line)
board
A plumb bob is used to transfer the layout lines onto the
ground (dotted lines) for the laying of the bricks to start.
Plumb
bob

Batter
board

Mason's string
(layout line)
Top: Bricks are laid alongside the
layout lines (mason's string, red
lines shown with arrows).

Right: Only one face of each wall

is coincident with a layout line.
Artworks have layouts too.

The simplest layout is the rectangle

of the canvas.

Leda and the Swan,

after Leonardo da Vinci,
Louvre
Dimension is the distance between two neighboring, parallel layout lines.
Dimensions can be chosen arbitrarily or from among a pre-prepared dimension set.
Dimension Set is a collection of dimensions (lengths) that increase (or decrease) by
a selected ratio.
Dimension set examples:
The powers-of-2 dimension set (ratio=2): 1, 2, 4, 8, 16, 32, 64, etc.
The powers-of-3 dimension set (ratio=3): 1, 3, 9, 27, 81, 243, etc.
The golden ratio dimension set (ratio=1,618): 1,000, 0,618, 0,382, 0,236, 0,146, etc.
The Fibonacci dimension set (ratio approaches 1,618): 1, 2, 3, 5, 8, 13, 21, 34, etc.

Module (M) is the smallest dimension of the dimension set. The module can be
different for each dimension set.
Golden ratio, golden dimension, golden layout, the rule

• Golden ratio is the number 1,618… Golden

• Golden dimensions are lengths that are related to one Dimensions
another by the powers of the golden ratio. Golden 1,618 / 1,618 = 1,000
dimensions can be obtained by repeatedly dividing the 1,000 / 1,618 = 0,618
golden ratio by itself. The table shows a set of 10 golden 0,618 / 1,618 = 0,382
dimensions. Every golden dimension is the sum of the two 0,382 / 1,618 = 0,236
previous (smaller) golden dimensions. 0,236 / 1,618 = 0,146
0,146 / 1,618 = 0,090
• A layout made with golden dimensions is called a golden
0,090 / 1,618 = 0,056
layout.
0,056 / 1,618 = 0,034
• The rule when adding a new line to a golden layout is to
0,034 / 1,618 = 0,021
place it a golden dimension from an existing line.
0,021 / 1,618 = 0,013
Making golden dimensions with straightedge and compass
i. The artist decides what the unit length (1,000 here) is
to be and makes a square with it. 1,000 is the first and
the largest golden dimension.
ii. The square is bisected with a vertical line.
iii. The diagonal of the half-square is drawn. By the
Pythagorean theorem, the length of the diagonal is
1,118.
iv. By drawing an arc, the shorter side of the half-square is
copied onto the diagonal. The remanining part is 0,618,
the second golden dimension.
v. By drawing an arc, 0,618 is copied onto the base of the
square. The remaining dimension is 0,382, the third
golden dimension. A vertical line is drawn at the
intersection of the arc and the base.
vi. At one end of the 1,000x0,618 rectangle, a square is
drawn. A 0,382x0,618 rectangle remains.
vii. At one end of the rectangle, a square is drawn. A
0,382x0,236 rectangle remains. 0,236 is the fourth
golden dimension.
viii. At one end of the rectangle, a square is drawn. A
0,146x0,236 rectangle remains. 0,146 is the fifth golden
dimension.
ix. The side lengths of the squares are golden dimensions.
As many golden dimensions as needed can be
produced in the same fashion.

The Golden Rectangle (GR) is a rectangle with
successive golden dimensions as sides.
Golden rectangle examples:
An example of the golden rectangle in art is
the canvas of the painting Leda and the Swan.
Photo (C) RMN-Grand Palais, 00-003857,
(Musée du Louvre) / Michèle Bellot, Hauteur:
0.272 m, Largeur: 0.168 m
1 The Root-5 rectangle is a popular shape in art and architecture. If a circle is
drawn around the midpoint of the base of a unit square (1) with a radius equal to
Square
the diagonal of the half-square (2), it intersects the extensions of the base 0,618
from the base corners (3). Golden rectangles (GR) flanking the square can be
2 drawn using the intersection points and the top corners (4). The complete shape
is a root-5 rectangle (5) which has a longer/shorter side ratio of 2,236, the square
radius root of 5 (√5=2,236). An example of the root-5 rectangle in art is the canvas of
the painting, Guernica, by Picasso.
3

GR GR

5
root-5 rectangle
Fibonacci numbers, Fibonacci dimensions, Fibonacci layout, the rule
Table showing the ratio
• Fibonacci numbers (or the Fibonacci sequence) is a sequence in of successive Fibonacci
numbers approaching
which each number is the sum of the two preceding ones. the golden ratio, 1,618…
Fibonacci numbers are: 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, etc. The
ratio of two successive Fibonacci numbers approaches the golden 2 / 1 = 2,000
ratio (1,618) as the numbers get larger. 3 / 2 = 1,500
• A Fibonacci dimension is a dimension which is a Fibonacci number 5 / 3 = 1,667
of modules. Fibonacci dimensions are: 1M, 2M, 3M, 5M, 8M, 13M, 8 / 5 = 1,600
21M, etc. 13 / 8 = 1,625
• A layout made with the Fibonacci dimensions is a Fibonacci layout. 21 / 13 = 1,615
When larger Fibonacci numbers are used to construct it, a 34 / 21 = 1,619
Fibonacci layout is practically the same as a golden layout. A golden 55 / 34 = 1,618
layout can be converted into a Fibonacci layout. 89 / 55 = 1,618
• The rule when adding a new line to a Fibonacci layout is to place it ...
a Fibonacci dimension from an existing line.
 The Fibonacci rectangle is a rectangle with successive Fibonacci dimensions
as sides (M not printed).

Fibonacci square examples

Interchangeability of Fibonacci dimensions and golden dimensions
The ratio of successive Fibonacci dimensions approaches the golden ratio as the dimensions
get larger, and the most discrepancy from the golden ratio is around the smaller Fibonacci
dimensions. As the Fibonacci dimensions used in a layout get larger (for example, larger than
13 or 21), it becomes impossible to tell whether Fibonacci numbers or the golden ratio were
used in it.
The ratio of two The ratio of two
The ratio of two successive Fibonacci successive Fibonacci successive Fibonacci
numbers is far from the golden ratio. numbers gets even numbers gets almost
nearer the golden equal to the golden
The ratio of two successive Fibonacci ratio. ratio.
The
numbers gets nearer the golden ratio.
golden
ratio
The original Chanel logo
The original Chanel logo
The original logo is
composed of two
1,000x1,000 squares
overlapping to the extent white dot
of 0,500.

The opening of the letter

C's is 60ᵒ.

There are 3 dimensions:

• The diameter of the
outer circle (or the 30ᵒ
side length of the
square): 1,000 30ᵒ
• The thickness of the
letter C: 0,167
• The overlap: 0,500
Converting the Chanel logo into a golden ratio logo
To construct the golden layout, the dimensions of the original logo will be replaced by golden dimensions.
The diameter of the outer contour of the letter C, which is 1,000 in the original logo, is a golden dimension.
The thickness of the letter C, which is 0,167 in the original logo (below, left), is replaced by its nearest golden
dimension of 0,146 in the golden ratio logo (below, right). white dot
The opening angle of the letter C remains the same in the golden ratio logo.

Golden
Dimensions
1,000
0,618
0,382
30ᵒ 0,236 30ᵒ
30ᵒ 0,146 30ᵒ
0,090
0,056
0,034
0,021
0,013
These are the Cs of the golden ratio Chanel logo, without any overlap.
The overlap, which is 0,500 in the original logo, is right in the middle of two golden dimensions 0,618 and 0,382.
Therefore, two different golden ratio logos will be constructed using these golden dimensions as overlaps.
white dot
1- This is the
golden layout of
the Chanel logo white dot
with an overlap
of 0,382.

30ᵒ

30ᵒ
The reader can confirm that
the golden layout of the
Chanel logo with an overlap white dot
of 0,382 is a 1,000x1,618
golden rectangle.

Note: 1,618 is a golden

dimension because it is the
sum of two successive
golden dimensions 1,000
and 0,618.
The golden
ratio Chanel
logo with an white dot
overlap of
0,382.
 white dot

Original logo. Golden ratio logo

(with an overlap of 0,382)
2- This is the
golden layout of
the Chanel logo white dot
with an overlap
of 0,618.
The golden
ratio Chanel
logo with an white dot
overlap of 0,618
 white dot

Original logo. Golden ratio logo

(with an overlap of 0,618)
All three logos together

white dot

Original logo Golden ratio logo Golden ratio logo

(with an overlap of 0,382) (with an overlap of 0,618)
 Is the golden ratio beautiful?

The golden ratio is not about beauty, but convenience. Because it is a ratio, and
because using a ratio standardizes the dimensions of the artwork, it brings to the
artwork as a side product the beauty of coherency. Other than that the golden ratio
dimension set (or the Fibonacci dimension set) is just one of many dimension sets.

That 1,618 is not special as a ratio can be confirmed by the fact that no eye can
distinguish between an artwork made with 1,618, which is the golden ratio, and
another with 1,620, which is not the golden ratio.

What is special about the golden ratio is that it is natural. The Fibonacci dimension set
(hence, the golden ratio) is the most advantageous dimension set that can be created
without using numbers and, therefore, has its roots in prehistoric times.
Example: The diagram shows the dimensions of the original logo of the University of Notre Dame, and its golden
ratio version. While the original logo is made of many dimensions some indistinguishably close to one another,
the golden ratio version employs fewer and easily distinguishable dimensions, making it more coherent.

Original Golden
logo ratio logo
 The origin of Fibonacci numbers

The Fibonacci sequence is so fundamental that to come

into being it did not need numbers but just humans.
Making a pillar

The diagram shows a cuboid pillar, the simplest of all

pillars.

It has three dimensions: Depth, breadth, and height.

In the prehistoric age, a stonemason had two

options before beginning to carve a pillar:
1. He could choose its dimensions at random.
2. He could choose its dimensions from among the
dimensions of a pre-prepared dimension set.

Because he must have invented the Fibonacci

sequence, the venture of the stonemason who
chose the second option is narrated here.
The criteria for the dimension set

• Simplicity: In the prehistoric age, simplicity must have been the main characteristic of
any activity whether it be hunting, clothing, housing, or art. Thus, the simplicity of the
method for producing dimensions, especially because the method had to be passed on
to the following generations, must also have been the first concern.

• Sufficiency: Because there was a limit to the size of the stone blocks that could be cut
from the quarry (5-6 m in Gobeklitepe), the number of dimensions a dimension set
provided within a given length must also have been a criterion (the more dimensions a
dimension set contains within a given length, the more detailed the pillar could be
made).
The medium for the dimensions

In prehistoric times, since wooden sticks would not be practical for long dimensions, the string
must have been the only device for recording length.

The prehistoric stonemason probably employed a piece of string for this purpose and tied knots
on it to mark the dimensions.
The 1st dimension
The stonemason starts by tying a knot to mark the end of the string.

Knot tied at
the end of
the string
As the first step of preparing a
dimension set, the stonemason has
to choose a starting dimension.
End of
Note: It is best that the stonemason the string
chooses a dimension that he can
reproduce in case the string gets lost
or damaged. Let us imagine he makes
the first dimension equal to his palm.
The stonemason ties a knot at a
distance of 1 palm from the end End of
of the string. the string
Knot
tied

1 palm
The first dimension has been produced.

The first dimension is the smallest dimension of the dimension set and will be called the 'module'.

The module will be represented by the capital letter M.

1st dimension = 1M
The 2nd dimension
It is time to create a new dimension that will become the 2nd dimension.

What will be the formula to be used for this purpose?

The simplest formula is making the new dimension equal to the sum of all the
dimensions present, i.e., "new dimension = sum of all dimensions that precede it".

Note: Instead of creating the 2nd dimension from the first dimension by employing a
formula, the stonemason could introduce another length like a handbreadth, a foot,
etc. as the 2nd dimension. But that would complicate the method and make it harder
to learn and remember.
 So, for the 2nd dimension, "the sum of all dimensions that precede it" is the 1st dimension.
Therefore, the 2nd dimension will be a copy of the 1st dimension.

The procedure to
copy the 1st
dimension onto
the string is
simple.

Radius of arc= 1M

1st dimension: 1M 2nd dimension: 1M

Center: Endpoint of 1st dimension Knot to be tied here

The stonemason folds the 1st
dimension around its endpoint
over the string ...

Radius of arc= 1M

2nd dimension: 1M

Knot to be
Center: Endpoint of 1st dimension tied here
 ... and ties a knot at a distance of 1 module from the endpoint of the 1st dimension.

The 2nd dimension has been produced.

Endpoint of 1st
dimension

2nd dimension: 1M
Knot tied
Two dimensions have been produced.
• 1st dimension: 1M
• 2nd dimension: 1M

This is the current situation.

1st dimension: 1M 2nd dimension: 1M

The 3rd dimension
Following the formula
"new dimension = sum
of all dimensions that
precede it", the 3rd
dimension will be the
sum of the first two
dimensions.

The combined length

of the first two
dimensions (1+1=2 Radius of arc= 2M
modules) is folded
over the string around
the endpoint of the
2nd dimension ...

3rd dimension: 2M

Center: Endpoint of 2nd dimension Knot to be tied here

 ... and a knot is tied at a distance of 2 modules from the endpoint of the 2nd dimension.

2nd dimension: 1M 1st dimension: 1M

3rd dimension: 2M

Endpoint of Knot tied

2nd dimension
 Three dimensions have been produced:
• 1st dimension: 1M
• 2nd dimension: 1M
• 3rd dimension: 2M

This is the current situation.

1st dimension: 1M 2nd dimension: 1M 3rd dimension: 2M

The 4th dimension
 Having produced three dimensions, the stonemason realizes that he can, with the same simplicity,
make two versions of the new dimension:
A. New dimension = Sum of all dimensions that precede it
B. New dimension = Sum of only the two dimensions that precede it
He tries both formulas to see which one is better.

A B

New dimension New dimension

A- New dimension = Sum of all preceding dimensions
 The 4th dimension will be the sum of all
preceding dimensions (1M+1M+2M=4M).

The combined length of the 1st, 2nd, and 3rd

dimensions are folded over the string around
the endpoint of the 3rd dimension ...

Radius of arc= 4M

4th dimension: 4M

Endpoint of 3rd dimension Knot to be tied here

 ... and a knot is tied at a distance of 4 modules from the endpoint of the 3rd dimension.

3rd dimension: 2M 2nd dimension: 1M 1st dimension: 1M

4th dimension: 4M
Endpoint of Knot tied
3rd dimension
This is the result of using the formula "new dimension = sum of all dimensions that precede it".

3rd dimension: 2M
1st dimension: 1M

2nd dimension: 1M 4th dimension: 4M

Continuing with the formula,

• the 5th dimension emerges as 8 modules (1+1+2+4),
• the 6th dimensions emerges as 16 modules (1+1+2+4+8),
• the 7th dimension emerges as 32 modules (1+1+2+4+8+16),
• etc.

The distinct dimensions the formula "new dimension = sum of all dimensions that precede it"
produces correspond to what we know today as
the powers of the number two (2ᵒ, 2¹, 2², 2³, 2⁴, 2⁵, etc.): 1, 2, 4, 8, 16, 32, 64, etc.
B- New dimension = Sum of the two preceding dimensions
The 4th dimension will The 1st dimension has
be equal to the sum of not been included
the two dimensions that because it is not one
precede it. of the preceding two
dimensions of the 4th
Two dimensions that dimension.
precede the 4th
dimension are the 2nd
and 3rd dimensions.

The combined length of

the 2nd and 3rd
dimensions are folded Radius of arc= 3M
over the string around
the endpoint of the 3rd
dimension...

4th dimension: 3M

Endpoint of 3rd dimension Knot to be tied here

 ... and a knot is tied at a distance of 3 modules from the endpoint of the 3rd dimension.

2nd dimension: 1M

4th dimension: 3M
Endpoint of Knot tied
3rd dimension
This is the result of using the formula "new dimension = sum of the two dimensions that precede it".

1st dimension: 1M 3rd dimension: 2M

2nd dimension: 1M 4th dimension: 3M

Continuing with the formula,

• the 5th dimension emerges as 5 modules (2+3),
• the 6th dimensions emerges as 8 modules (3+5),
• the 7th dimension emerges as 13 modules (5+8),
• etc.

The distinct dimensions the formula "new dimension = sum of the two
dimensions that precede it" produces correspond to what we know
today as the Fibonacci numbers: 1, 2, 3, 5, 8, 13, 21, 34, 55, etc.
The best dimension set
 Comparing the outputs of the two formulas
A (the powers-of-2 dimension set): New dimension = Sum of all preceding dimensions
B (the Fibonacci dimension set): New dimension = Sum of the two preceding dimensions

To provide the same number of distinct dimensions, the Fibonacci set uses less length than
the powers-of-2 set does.

The length used for three distinct dimensions

2nd: 1M 3rd: 2M 4th: 4M

1st: 1M
A

B 3rd: 2M 4th: 3M
1st: 1M 2nd: 1M

Less length is used for three distinct dimensions

The reader may have noticed that as the number of dimensions produced increases, it becomes possible
(although inconvenient to learn and remember) to prepare dimension sets other than the powers-of-2 set
and the Fibonacci set. Still, all possible sets included, the Fibonacci set provides the most dimensions within
the same length, and in the absence of numbers, the Fibonacci set is by far the most advantageous of all
dimension sets. In conclusion, the golden ratio (or Fibonacci numbers) is primarily about convenience; but
because it standardizes the dimensions of the artwork, brings to it as a side product the beauty of coherency.

Name Fibonacci set Powers-of-2 set

Formula Sum of Sum of Sum of Sum of
preceding 2 preceding 3 preceding 4 all preceding
Length of dimension (in terms of modules) 1 1 1 1
" 1 1 1 1
" 2 2 2 2
" 3 4 4 4
" 5 7 8 8
" 8 13 15 16
" 13 24 29 32
" 21 44 56 64
" 34 81 108 128
" 55 149 208 256
" 89 274 401 512
Length inside which 10 distinct dimensions can fit 89 274 401 512
It has been shown that when numbers were not around, the Fibonacci set was
the dimension set for the artist to inevitably invent.

Therefore, it should not be surprising to find the Fibonacci numbers in artworks

belonging to different times in different corners of the world.
Fibonacci layout examples in art
Nevali Çori, 8000 BC
T-shaped pillar from Nevali Çori is
in the shape of a man’s body.
Its dimensions are Fibonacci
dimensions.
Note: The overflow at the bottom
may be the part that goes in the
socket in the foundation.
 1 2 3
The Great Pyramid (2600 BC) seems
to have been made of eight 377x610
Fibonacci rectangles (377 and 610
are successive Fibonacci numbers).

The area of each face is equal to the

area of a 377x610 ft Fibonacci
rectangle.

4 5 The calculation 6
of the height of
the Fibonacci
model

479.55
The Great Pyramid and its Fibonacci model for comparison

Actual measurements: Height: 480.69 ft, Apothem:

610 ft, Lengths of the sides West: 755.76 ft, North:
755.41 ft, East: 755.87 ft, South: 756.08 ft (The mean
of the four sides: 755,78 ft.) The Pyramids and
Temples of Gizeh, W.M. Flinders Petrie, 1883

The Great Pyramid The Fibonacci model

Stela of Antef,
1786-1650 BC,
Lille, Palais
des Beaux-
Arts

The text
rectangle in
the middle
is a 34x21
Fibonacci
rectangle.
Minoan Snake
Goddess, 1700-1450
BC, Herakleion
Archeological
Museum, Crete

The front view of the

figurine was designed
on paper employing a
Fibonacci layout.

The Goddess’
forearms and snakes
are placed along the
diagonals of two 5x5
squares.
Detail
The Lod Mosaic (300 CE, Shelby White and Leon Levy Archaeological Center) is composed of scenes
separated by an interlocking cable pattern.
Its layout is a Fibonacci layout.
Judging by the widths of the bands (which are Fibonacci numbers) around the layout
lines of one of the scenes, the module used in the mosaic is the width of one tessera,
and the dimensions given in the Fibonacci layout represent the number of tesserae.
Two 21x13
vertical
Fibonacci
rectangles
(rectangles
with
successive
Fibonacci
numbers as
sides)
flanked by The Sarcophagus of Livia Primitiva, 300 AC, Louvre
two 21x34
horizontal
Fibonacci
rectangles
and a frame
of unit width
around
them
The frame design of The Last Judgement, 1425, 105x210 cm, San Marco Museum

The layout
of the
frame of
this
painting
was also
designed
with the
Fibonacci
numbers.
r: radius
Fra Angelico
The frame design of
The Coronation of the Virgin,
1435,
213×211 cm,
Louvre
As can be confirmed visually
by counting the cells of the
superimposed square grid,
the layout of the frame was
designed with the Fibonacci
numbers.

Note: The 21 ft dimension

was split in half, and an 8 ft
dimension was inserted in the
middle to create the upper
turning points of the outer
contour of the layout.
The Fountain of
Grace
1440, Workshop of
Jan van Eyck,
Museo del Prado
Image: Ugur Gulcugil

There are 14 scenes

in the painting:
• Jesus Christ
• The throne
• The fountain
• Two towers
• Two empty skies
• St. Mary
• St. John
• Two choirs
• Christians
• Jews
• The frame
Left: The Fibonacci
layout of the painting
employs a 11x9 grid
with:
4 rows of 5x5 squares
at the top,
3 rows of 8x5
Fibonacci rectangles
in the middle,
4 rows of 5x5 squares
at the bottom.

Right: The Fibonacci

layout (white lines)
was used to help the
carpenter when
producing the panel
and the frame, and to
help the painter(s)
when painting the
scenes on the panel.
Vitruvian Man (1490) is a mathematical drawing by Leonardo da Vinci.
These are written below the image: The length of the outspread arms is
equal to the height of a man. / The maximum width of the shoulders is a
quarter of the height of a man. / From the breasts to the top of the
head is a quarter of the height of a man. / The distance from the elbow
to the tip of the hand is a quarter of the height of a man. / The distance
from the elbow to the armpit is one-eighth of the height of a man. / The
length of the hand is one-tenth of the height of a man. / The root of the
penis is at half the height of a man. / The foot is one-seventh of the
height of a man. / From below the foot to below the knee is a quarter of
the height of a man. / From below the knee to the root of the penis is a
quarter of the height of a man. / The distances from below the chin to
the nose and the eyebrows and the hairline are equal to the ears and to
one-third of the face. / From the hairline to the bottom of the chin is
one-tenth of the height of a man. / From below the chin to the top of
the head is one-eighth of the height of a man. / From above the chest to
the top of the head is one-sixth of the height of a man. / From above
the chest to the hairline is one-seventh of the height of a man
Note: Da Vinci is wrong about the last dimension because, as can be
seen from the diagram on the next page, the interval he mentions is
17/120, and 17/120 is not 1/7 (17/119 is 1/7).
Diagram made according
to the dimensions
printed below the image

Note:
"Below the chin" =
"Bottom of the chin"

Note: No dimension
is associated with
the navel.
Leonardo da Vinci
employed a 34x34 square
grid to draw Vitruvian
Man's Fibonacci layout (a
stick figure).

He used the stick figure to

place the following body
parts in their exact
locations:
• The center of the square
(the root of the penis),
• The center of the circle
(the navel),
• The parts of the body
that touch the square
and/or the circle.
h: height of the man
That Da Vinci (while giving
all other dimensions) did
not impart the most
crucial dimension, the
distance between the
centers of the circle and
the square, can be seen as ?
a sign of his concern for
being accused of
employing a method other
than God's harmonic
ratios, like Palladio.
Had Leonardo da Vinci revealed the
distance between the centers of the
circle and the square as 3/28 units,
the side of the square (height of the
man) would have been established
as 28 units, the diameter of the
circle would have been established
as 34 units, and the coordinates of
the body parts touching the circle
and/or the square would have been
revealed as Fibonacci numbers.

Note: This dimension is from the text

above the image: "If you open your
legs enough that your head is lowered
by one-fourteenth of your height ..."
Detail
Detail
The making of the
Fibonacci layout (the
stick figure)

• A 34x34 grid is
drawn.
• The concentric
circle and square
are drawn.
• The square is
moved down.
• The stick figure is
drawn.
• The tips of the stick
figure indicate the
points where body
parts touch the
circle and/or the
square.
• Vitruvian Man is
drawn.
The author

Ates Gulcugil (b 1945) worked in electronics industry.

After his retirement in 2001, he started drawing
cartoons and won the first prize in 2002-Aydın Doğan
International Cartoon Contest and 2005-Yunus Nadi
Cartoon Contest. Today, he continues the golden
ratio research he started in 2003. Gulcugil is an
alumnus of the Faculty of Electrical Engineering,
Middle East Technical University, Ankara, Turkey.

The author's page:

https://independent.academia.edu/AtesGulcugil
19th Aydın Doğan
International Cartoon
Competition

Subject: Terrorism

The Jury: Miroslaw Bartak -

President (Czech Republic),
Arthur B. Bok (USA), Latif
Demirci (Turkey), Gürbüz
Doğan Ekşioğlu (Turkey),
Roberto Fontanarrosa
(Argentina), Fin Graff
(Norway), Hüsamettin
Koçan (Turkey), Tan Oral
(Turkey), Dieter Ronte
(Germany) and Turhan
Selçuk (Turkey)

First Prize: Ates Gulcugil

Works (academia.edu): The Fountain of Grace, Jan van Eyck workshop, golden
The Fibonacci Layouts of Palladio ratio analysis
Villa Emo (with compass and straightedge) The Vitruvian Man, Da Vinci, Fibonacci Layout
Palazzo Thiene (with compass and straightedge) Leda and the Swan, after Da Vinci, golden ratio analysis
Palazzo Dalla Torre in Verona (with compass and Gobeklitepe and Nevali Çori, golden ratio analysis
straightedge) Golden Ratio Since Gobeklitepe
Palazzo Chiericati in Vicenza (with compass and straightedge) The sarcophagus with Victories, Walters Museum,
The Minoan Snake Goddess (with compass and straightedge) golden ratio analysis
The Last Judgement, San Marco, Fra Angelico, Fibonacci The Fibonacci Pyramid of Giza
layout of the frame The sarcophagus of Livia Primitiva, Louvre
The Coronation of the Virgin, Louvre, Fra Angelico, Fibonacci The Parthenon Peristasis, Fibonacci layout
layout of the frame Philochares and Timagora relief, golden ratio analysis
Saint Cosmas and Saint Damian Crucified and Stoned, Fra Dolphin Fresco Knossos
Angelico, golden ratio analysis Stela of Iti and Neferu, 2190 BC
Christ Standing in His Grave, Fra Angelico, golden ratio Stela of Heku
analysis Stela of Gebu, 1900 BC
Coronation of the Virgin, Uffizi, Fra Angelico, golden ratio Stela of the Bowman Semin
analysis Stela of Ameny, 1900 BC
The Fibonacci Tennis Court Stela of Imenemhat
Zeugma, the Geometric Mosaic, Fibonacci analysis My work (paintings by the author)
The Lod Mosaic, golden ratio analysis
The Sun God Tablet, golden ratio analysis
Presentations
Pamukkale University

3D
Kemer, Antalya

3D
3D
Contact: atesgulcugil@hotmail.com