design

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CALLIGRAPHY
PRINTMAKING FABRIC
CHILDREN’S ILLUSTRATION DIGITAL IMAGING
QUILTS PAINTING
WALLPAPER DESIGN
PHOTOGRAPHY
MANGA FIBER
COMICS
CARTOONS
EMBROIDERY LETTERPRESS
BOOK DESIGN
POLITICAL CARTOONS
ARCHITECTURAL DESIGN
MOSAICS
MIXED MEDIA
PRODUCT DESIGN
MOVIE STORYBOARDS
STAINED GLASS FASHION DESIGN
ILLUSTRATION
FILM STILLS
BOOK COVER ILLUSTRATION/DESIGN
FASHION ILLUSTRATION
AP STUDIO ART 2D DESIGN
JERRY STEFL
IT IS COMPLICATED
SO BE QUIET AND LISTEN
Arthur Wesley Dow; Silhouetted Trees; 1895
Arthur Wesley Dow
Composition: A Series of Exercises Selected from
a New System of Art Education; 1899.
“Mr. Arthur Wesley Dow, the artist, who declares
that ‘art education should begin at
composition,…” “the filling of spaces in
agreeable and harmonious arrangement…”
Henry Rankin Poore, Pictorial Composition and the Critical Judgment of
Pictures; 1903
WHAT IS 2D DESIGN?
DESIGN refers to the
adaptation of means
to an END.
…the coordination of
parts to produce a
result; intent and
purpose fasten on the
end itself.
…SO PUT ON THE 2D
LENS…NOW!
VISUAL ORGANIZATION
“ART SEEKS VISUAL SOLUTIONS IN
WHAT IS OFTEN CALLED THE
DESIGN PROCESS.”
Design Basics; Laurer & Pentak
CES 53
BAUHAUS 1919-33
Joost Schmidt; Poster for a
Bauhaus Exhibition; 1923
Laszlo Moholy-Nagy; Photogram; 1926
Joseph Albers; Formulation, Articulation; 1972
Johannes Itten; Die Begegnung; 1916
Hannes Meyer; Konstruction; 1927
Lyonel Feininger; Oberweimar; 1927
TYPES OF 2D ART
Representational
E.J. Bellocq; Storyville/Untitled;1912
Karl Wirsum; Oops Goops; Etching 1997
NONREPRESENTATIONAL
Lee Krasner; Noon; Oil; 1947
Liz Ward; Crazy Weather;
watercolor/gouache; 2008
Organizing Principles of 2D
DESIGN
•
•
•
•
•
Unity
Emphasis/Focal Point/Contrast
Scale/Proportion
Balance
Rhythm
UNITY
• An integrated image
• Agreement exists
among the elements
• The parts of the
whole look like they
belong together
• Visual connection
beyond mere chance
• Elements are
harmonious
Wayne Thiebaud; Cakes; Oil; 1963
UNITY THROUGH PROXIMITY
Graffiti
UNITY/PROXIMITY
Romare Bearden; Madeline Jones’ Wonderful Garden; College of various
papers, ink, graphite with surface abrasion on fiberboard; 1977
UNITY THROUGH REPETITION
Brian Dettmer; Book Autopsies;
Altered books
UNITY/REPETITION
Margaret Bourke-White; Bread Line During the Louisville
Flood, Kentucky; Silver Gelatin Print; 1937
UNITY THROUGH CONTINUATION
Jules Feiffer; Big Town; Iris print; 2009
UNITY/CONTINUATION
Banksy; The Thekla; Waterline; Bristol
UNITY USING THE GRID
Harold Michelson; Storyboard, “The
Birds;” 1963
UNITY USING THE GRID
Eadweard Muybridge; Ascending Stairs; 1884-85
UNITY USING THE GRID
Manga; Page 9 from “Love Collage;” 2010
UNITY USING THE GRID
Roger Brown; The Young and Self Conscious; Oil; 1991
EMPHASIS/FOCAL POINT/CONTRAST
• An emphasized
element can attract
attention
• It encourages the
viewer to look closer
• Large vs. small
• Light vs. dark
Tony Fitzpatrick; O; Color
etching; 2000
EMPHASIS BY CONTRAST
Mehdi Saeedi; The 18th International
Music Festival; Poster for the Music
Center, Islamic Guidance Ministry; 2003
EMPHASIS BY CONTRAST
Ansel Adams; Bridal Veil Falls,
Yosemite Valley; 1929
EMPHASIS BY
CONTRAST
Ed Paschke; Paula; Oil on linen;
1972
EMPHASIS BY ISOLATION
David Brebin; Girl in Hong Kong; Digital C-Print; 2010
EMPHASIS BY ISOLATION
Erol/CT’INK; Dresden 09; Spray paint on cardboard; 2010
EMPHASIS BY ISOLATION
Jonathon Hexner; Boy Drinking 3/11; Dynamite Fuse &
Utrachrome on paper; 2006
EMPHASIS BY PLACEMENT
Julie Blackmon; Take Off; Digitally constructed photograph, 2009
EMPHASIS BY PLACEMENT
Martin Ramireiz; Title Unknown;
melted wax carayon, oatmeal
paint on discarded paper; date
unknown
EMPHASIZING THE WHOLE OVER THE PARTS
Joan Miro; II. Ubo Roi: Le Banquet; Lithograph; 1966
EMPHASISING THE WHOLE OVER THE PARTS
Robert Swedroe; Paragon in Red; Oil
on canvas; 2007
SCALE AND PROPORTION
• Refers to size
• Large scale and small
scale are
meaningless without
a standard of
reference
• Size measured
against other
elements is proportion
Ali Omar Ermes; The Letter
‘Kaf”-The Power of Expression;
1945
HUMAN SCALE/LARGE VS. SMALL
Christopher Klein; Dreamtime; Oil on
Canvas
HUMAN SCALE/LARGE VS SMALL
Deborah Ebbers; Old Giants No. 2; Oil on Panel, 2009
SCALE IN CONTEXT
Kehinde Wiley; Three Graces; Oil/Enamel on canvas; 72x96 inches; 2005
SCALE IN CONTEXT
Magdalena Abakanowicz; Bois-Le-Duc; Sisal and wool weaving; 1970/71
BALANCE
• Distribution of visual
weight seeming
natural and unposed
• Equal distribution of
visual weight on
either side of a
vertical axis
Mel Bochner; Blah, Blah, Blah; Oil on
velvet; 49 x 37 inches; 2009
ASYMMETRICAL OR INFORMAL BALANCE
Matt Kane; And Together We’ll Remain the Parts that make
Whole of Our Pain; Oil on canvas
ASYMMETRICAL OR INFORMAL
BALANCE
James Mesple; Siren’s Song; Mixed Media; 2008
SYMMETRICAL OR
FORMAL BALANCE
Karl Blossfeldt; Indian Balsam
SYMMETRICAL OR FORMAL BALANCE
Hollis Sigler; I Find Hope on the
Horizon; Color Lithograph; 1996
Hollis Sigler; She Dreams of Escaping to
Hope; Color Intaglio with lithographed mat;
1997
RADIAL SYMMETRY
Wissam Shawkat; Poster for Arabic Calligraphy; Ink; Iraq
RADIAL SYMMETRY
Sally Mann; At Warm Springs;
Gelatin Silver Print; 1991
RHYTHM
• Movement across
recurrent motifs
• Inherent in repetition
• Made up of patterns
and sequences
Ed Paschke; Flamenco; 8 color screen
print; 1991
RHYTHM USING REPETITION
Virginia Spiegel; Quilt; Cotton fabric dyed and painted, felting,
threads
RHYTHM USING REPETITION
Bass/ Custard Factory/British Arts
Council; Nelson Mandela
RHYTHM USING
PATTERN AND
SEQUENCE
Marti Waller; Carousel; quilted
fabrics
RHYTHM USING PATTERN AND SEQUENCE
Mary Bero; Modern Stories;
Threads, embroidery on
cotton, 9x9 ¾ inches
ELEMENTS OF ART
• Can not stand alone
• Elements need a principle
to become whole
• A sentence needs a verb
and a noun to become a
sentence
• A composition needs a
verb (principle) and a
noun (elements) to
become a composition
Line
Shape
Value
Texture
Illusion of Space
Color
LINE CAN CONVEY
MOOD
Robert Crumb; The Book of
Genesis
LINE CAN DESCRIBE SHAPE
Henry Darger; Illustrations for ‘The Realms of the Unreal; Pencil and
watercolor
LINE CREATING DIVERSITY AND EMPHASIS
Susan Rothenberg; Acrylic, pencil
on paper, 1978
LINE CREATING DARKS AND LIGHTS
Joseph Yoakum; Mt. Safama Near Oruna Bolivia South America;
Ballpoint pen & colored pencil; Feb. 14, 1966
OUTLINE OF FORMS
Orly Cogan; Size Matters; 46 x 46 inches;
Handstitched embroidery on vintage tablecloth
EXPLICIT LINES
Brice Marden; Suzhow III; Colored etching,
sugarlift, aquatint, drypoint, scraping; 199698
RECTILINEAR SHAPE: POSITIVE/NEGATIVE
Lindon Leader; Leader Creative; FedEx Logo; 1994
CURVILINEAR SHAPE: POSITIVE/NEGATIVE
Reza Abedini; Calligraphic Poster
Exhibition
Natural Shapes
Bill Traylor; Red Goat with Snake; Colored pencil
on cardboard; 1939-42
EXAGGERATED SHAPES
Gladys Nilsson; Tea Time;
Watercolor & gouache on paper;
2001
AMIBIGUOUS SHAPE
Luba Lukova; War Is Not the Answer; Poster
OUTLINED SHAPES
Get Down White Boy; BASS/Custard
Factory; British Art Council
TEXTURE: ACTUAL
Amy Clark Moore; Atlanta’s Apple; 4 ¾ x 5 ½
inches; Beaded embroidery; 2004
TEXTURE: ACTUAL
Vadim Katznelson; Fluff; Acrylic/Resin on
Board; 14 x 14 inches; 2008
TEXTURE: ACTUAL
Rosabelle Ben; Storm Pattern; Navajo
Sandpainter
TEXTURE: IMPLIED
Robert Lostutter; Superb Sunbird; Black and
white lithograph; 1991
TEXTURE: IMPLIED
Mickalene Thomas; Afro Goddess with Hand Between
Legs; C-Print; 2006
TEXTURE: IMPLIED
Ray Yoshida; Scramble; Oil on Canvas; 54 x 78
inches; 1997
ILLUSION OF SPACE: OVERLAPPING
William Conger; Kabuki; Oil on Canvas; 60 x 96 inches; 2008
ILLUSION OF SPACE: ABSTRACT
John Fraser; Relief With Ruler (In Grey); Acrylic,
Mixed Media (Ruler, book spine, book covers) on
wood construction;
ILLUSION OF SPACE: SIZE PROPORTIONS
Archibald Motley, Jr.; Nightlife; Oil on Canvas; 1943
ILLUSION OF SPACE: LINEAR PERSPECTIVE
Daniel Burnham; South Shore Park, Chicago, Illinois: Design Sketch; 1896
ILLUSION OF SPACE: LINEAR PERSPECTIVE
Henry Glass; Fada Radio Design, Red Radio:
Presentation Drawing; 1946
ILLUSION OF SPACE: LINEAR
PERSPECTIVE
George Tooker; Subway; Egg tempera on composition board; 18 x 36; 1950
ILLUSION OF SPACE: EXAGGERATED SIZE
Mary Jones; Red Table; Mixed
media monoprint
VALUE: FULL RANGE
Robert Ziebell; Bridal Gowns; Silver
Gelatin Print; 2009
VALUE: SUGGESTING SPACE
Audrey Niffenegger; Plate 7, From ‘The Three
Incestuous Sisters; Handcolored etching with
aquatint
VALUE: DARK ON LIGHT
Nancy Spero; Suffragette/Hittite Goddess; Handprinting
with printed collage; 1988
VALUE: LIGHT ON DARK
Fred Stonehouse; Untitled (Hood);
Acrylic on wood; 24 x 19 inches
COOL COLOR
EVOKES
RESPONSE
Pablo Picasso; The Old Guitarist; Oil
on canvas; 1903/04
WARM COLOR
EVOKES
RESPONSE
Laurie Hogan; Song of Retail #1:
Pink Skull Monkey; Oil on panel;
19 x 19 inches
COLOR EVOKES RESPONSE: WARM/COOL CONTRAST
Leon Golub; Interrogation II; Oil on canvas scraped; 1981
MONOCHROMATIC COLOR
Mark Rothko; Untitled Painting; Oil on Canvas; 1953/54
MONOCHROMATIC COLOR
Jeffery Ripple; Bullhead; Oil on paper; 19 x 26
COMPLEMENTARY COLOR
Hans Hoffman; The Golden Wall; Oil on Canvas; 1961
COMPLEMENTARY COLOR
Lola Pettway; Housetop; 2002
COMPLEMENTARY COLOR
Edward Hopper; Nighthawks; Oil on canvas; 1942
COLOR
DOMINANCE
Mike Noland; The Stormy Night;
Oil on canvas; 36 x 48 inches
SYMBOLIC COLOR
Jasper Johns; Flag; Encaustic, oil, collage on fabric
mounted on panels; 42 x 60 inches; 1954/55
SYMBOLIC COLOR
Faith Ringgold; American
Quilt
SYMBOLIC COLOR
Luba Lukova; Social Security; Poster
CALLIGRAPHY
PRINTMAKING FABRIC
CHILDREN’S ILLUSTRATION DIGITAL IMAGING
QUILTS PAINTING
WALLPAPER DESIGN
PHOTOGRAPHY
MANGA FIBER
COMICS
CARTOONS
EMBROIDERY LETTERPRESS
BOOK DESIGN
POLITICAL CARTOONS
ARCHITECTURAL DESIGN
MOSAICS
MIXED MEDIA
PRODUCT DESIGN
MOVIE STORYBOARDS
STAINED GLASS FASHION DESIGN
ILLUSTRATION
FILM STILLS
BOOK COVER ILLUSTRATION/DESIGN
FASHION ILLUSTRATION
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