Н.А. ПАВЛОВА
УПРАЖНЕНИЯ И КОНТРОЛЬНЫЕ ЗАДАНИЯ
К УЧЕБНИКУ DESIGN BASICS (6TH EDITION)
ЧАСТЬ I. ПРОЦЕСС ДИЗАЙНА. ПРИНЦИПЫ ДИЗАЙНА
для студентов школы “Дизайна”,
обучающихся по международной программе
Университета Уэльса
Челябинск 2013
Павлова Н.А. Упражнения и контрольные задания к учебнику DESIGN
BASICS (6TH EDITION) Часть I. Процесс дизайна. Принципы дизайна: для
студентов школы “Дизайна”, обучающихся по международной программе
Университета Уэльса. – Челябинск: НОУВПО РБИУ, 2013. – 36 с.
Данное издание предназначено для студентов III-IV курсов высшей
школы «Дизайна», обучающихся по направлениям «Дизайн среды», «Дизайн
графический», «Дизайн костюма» в рамках международной программы
Университета Уэльса.
Издание
включает упражнения и контрольные задания к учебнику
Design Basics (6th edition) под редакцией David A. Lauer, Stephen Pentak.
Издание состоит из двух частей: первая часть охватывает материал двух
разделов учебника, посвященных процессу дизайна и базовым принципам
дизайна. Во второй части задания направлены на закрепление материала по
базовым элементам дизайна.
Рецензенты:
Щербов А.Д. – кандидат педагогических наук, заведующий кафедрой
лингвистики и межкультурной коммуникации НОУВПО РБИУ
© Павлова Н.А., 2013
© НОУВПО РБИУ, 2013
CONTENTS
Chapter 1.
Design Process………………………………………………………...4
Chapter 2.
Unity…………………………………………………………………...10
Chapter 3.
Emphasis and Focal Point……………………………………….….15
Chapter 4.
Scale and Proportion……………………………………………..….20
Chapter 5.
Balance………………………………………………………………..26
Chapter 6.
Rhythm………………………………………………………….……..32
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Chapter 1. Design Process
Assignment 1. Read the text of Chapter 1 and do the following:
1. Give the definition of design. Differentiate between art and design.
2. List and define the steps used in the design process.
3. Differentiate between source and subject
4. Differentiate between content and form
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary below).
1. Give an example of vernacular and explain why you believe that it is vernacular.
2. What makes good art last?
3. What does a symbol mean? Give an example of a typical symbol used in art and its meaning.
4. Define the difference between the source and the subject in the design process.
Glossary
Aesthetics
A branch of philosophy concerned with the beautiful in art and how the viewer
experiences it.
Collage
An artwork created by assembling and pasting a variety of materials to a two-
dimensional surface.
Content
An idea conveyed through the artwork that implies the subject matter, story, or
information the artist communicates to the viewer.
Design
To plan or organize a work of art.
Design Process The process that artist and designers use to plan the arrangements of form and
shapes to create a visual pattern.
Form
When referring to objects, it is the shape and structure of a thing. When referring to two-
dimensional artworks, it is the visual aspect of composition, and the work as a whole. Explain,
what forms are used in the picture. Do a design work with a certain form and explain why and
how, advantages and disadvantages.
Site-specific A work of art in which the content and aesthetic value is dependent on the artwork
location.
Source
The stimulus for an artwork image or idea. Explain what can be a source of the
picture. Speak, what sources you usually use for your design works.
Subject The content of the work, or the artist way of seeing.
Symbol
An element of design that communicates an idea or meaning beyond that of its literal
form. Explain what symbols are used in the picture and why. Compare two symbols.
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Vernacular
A prevailing or commonplace style in a specific geographical location, group of
people, or time period.
Assignment 3. Do the tutorial quiz
1. Graphic designers and artists do which of the following?
a. Create visual organization
b. Plan the arrangements of forms and shapes to create a visual pattern.
c. Plan the arrangements of forms and shapes to create a visual pattern and create visual
organization
d. Randomly place shapes and forms to create so called “art”.
2. There are three steps in the creative design process. Which of the following is not one of these
steps?
a. Feeling
b. Doing
c. Thinking
d. Looking
3. What are the two parts to a successful solution?
a. The art is large and overwhelms the viewer.
b. The art is visually effective and communicates an idea.
c. The art is colorful and bright.
4. What is not one of the four parts to understanding the problem at hand?
a. Goal
b. Physical Limitations
c. Time Limit
d. Style
e. Fashion
5. There are three suggested steps for creating a design. Which of the following is not one?
a. Watching TV
b. Sketch images and pictures that represent the theme
c. Use in an usual or unexpected way
d. List sketch and pictures that represent the theme
6. When creating a design there are several things to think about. Which one is not one of them?
a. Target audience
b. Effect or Feeling
c. Reaction
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d. Price
7. Three examples of sources for artistic inspiration are:
a. Nature, Money, and Books
b. Past, Present, Future
c. Nature, History, Culture
8. There are Three forms of critique discussed by the book. What is NOT one of them?
a. Review by peers or classmates
b. Self-Critique, for example a journal entry
c. Dialogue with a Professor
d. A magazine review
9. The model, or three steps, in a critique as listed by the book are:
a. Description, analysis, and interpretation
b. Nature, history, and culture
c. Looking, thinking, and doing
10. What is the vocabulary word for “to plan”?
11. What is the term for the process that Graphic Designers and Artists use to create art?
12. Subject matter, story, or info that the artwork tries to communicate, or what the artist wants to
say is referred to as the …. of a piece.
13. The purely visual aspect of a picture or how the artist says it is referred to as the … .
14. What an artist is attempting to achieve with a design is called the … .
15. Examples of a design's… include size, color, medium, etc...
16. When a design must it be finished is referred to as the … .
17. The people that you are trying to reach with your design are referred to as the … .
18. What you want your audience to feel when viewing your design is referred to as the … .
19. Finish this quote: “Form follows …”
20. The … is the stimulus for the image or idea.
21. A branch of philosophy concerned with the beautiful in art and how it is experienced by the
viewer is referred to as … .
22. An artwork created by assembling and pasting a variety of materials to a two-dimensional
surface is called a … .
23. The content of the work or the artist’s way of seeing is called the … .
24. Bone, animals, landscapes are all examples of things a designer might use as sources of
inspiration. They are referred to as sources from … .
25. TV, society, fashion are all examples of things a designer might use as sources of inspiration.
They are referred to as sources from … .
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26. An element of design that communicates an idea or meaning beyond that of its literal form is
referred to as a … .
27. When an image becomes commonly known through frequent reproduction it is called … .
28. Doing starts with what?
29. For a design or idea to grow beyond an obvious or familiar starting point you must use … .
30. In a critique the first step – a verbal or spoken account of what is there – is referred to as the
….
31. In a critique, a discussion of how things are presented including thoughts of how things are
contrasted or different is called the … .
32. In a critique, the meaning, implications, or effect of the piece is referred to as the … .
33. True or False: the two parts to successful solutions in design are when the art is visually
effective and the art communicates an idea.
a. True
b. False
34. True or False: a reaction to design can be either positive or negative dependent on the intent
and message.
a. True
b. False
35. True or False: Critique is important.
a. True
b. False
Class Project
Visual Problems in Design Process
Introduction:
"Design is essentially the opposite of chance. In ordinary conversation, when we say ‘it
happened by design’ we mean something was planned—it did not occur just by accident.
People in all occupations plan, but the artist or designer plan the arrangement of elements
to form a visual pattern."— Design Basics, Chapter 1
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in the experiencing the design process. Four individual steps require
students to explore the design process set forth in the text: thinking, looking, and doing.
Students will also practice a simple technique of constructive criticism: description,
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analysis, and interpretation. One project requires students to compose a photographic
collage expressing their individual personal traits. Students render their collages in a
professional manner with media used in the field of design, including the computer. The
final results are critiqued by their classmates and by their instructor.
Group Activity:
1. Thinking—list words, images, colors, etc., which express individual personality traits or
qualities.
2. Looking—view magazines with reproductions of color photographs and choose
approximately six-ten images which express you, personally. Optional: research various
artists’ styles of self-portraiture in the library as well as over the internet.
3. Doing—cut photographic images into interesting shapes. Try various ways of assembling
them into a "finished" composition.
4. Constructive Criticism—follow the "model for critique presented in the text. Each student
is assigned to critique a student self- portrait according to the following step: description,
analysis, and interpretation.
Project:
Goal: To create a self- portrait collage, which expresses unique and personal qualities of
the individual student. This will be accomplished by following the thinking, looking, and
doing process of design outlined in the text.
Materials:
A. Since this is a group activity, students will work on this project together utilizing
available magazine reproductions of photographs. If a student is able to locate
photographic imagery online and print them quickly, they could also be included in the
self-portrait collage.
1. One half poster board, 11"x14".
2. Scissors with which to cut photographic imagery.
3. Glue: either rubber cement or all-purpose white glue.
4. Magazines from which to choose and cut out photographic imagery.
Guidelines:
1. Students are to create a self-portrait collage using photographic reproductions which
express his or her individual personality.
2. Use words, images, and symbols to communicate your expressive intent
3. Organize your expression into a unified whole.
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4. You may use either a vertical or horizontal format for the self-portrait.
5. Optional: It is suggested that these self-portrait collages be kept as a kind of pretest for the
design course. At the end of the semester, it is possible to have students go back to their
initial self-portrait designs and rework them into complete design compositions employing
all of the principles and elements learned over the semester. As such, this would constitute
a kind of post- test.
6.
7.
8.
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Chapter 2 Unity
Assignment 1. Read the text of Chapter 2 and do the following:
1. Define unity
2. Define the necessity and uses of unity and variety in design
3. Define composition
4. Define negative space
5. Define and identify continuation in a composition.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary below).
1. Discuss at least four design elements that you can repeat in order to create unity.
2. Give several examples of where you may want to use serial design to create continuity.
3. Give an example of a place where you have experienced chaos in visual unity and how you
might rectify the situation.
Glossary
Assemblage An assembly of found objects composed as a piece of sculpture (see Collage).
Collage
An artwork created by assembling and pasting a variety of materials to a two-
dimensional surface.
Composition The overall arrangement and organization of visual elements on the twodimensional surface
Continuation A line or edge that continues from one form to another allowing the eye to move
smoothly through a composition.
Continuity The visual relationship between two or more individual designs.
Design A planned arrangement of visual elements to construct an organized visual pattern.
Gestalt A unified configuration or pattern of visual elements whose properties cannot be derived
from a simple summation of its parts.
Graceful unity Although each element is essentially the same, the individual elements have
slight variations.
Graphic Forms drawn or painted onto a two-dimensional surface. Any illustration or design.
Grid A network of horizontal and vertical intersecting lines that divide spaces and create a
framework of areas.
Harmony The pleasing combination of parts which make up a whole composition.
Intellectual unity Elements have common theme; they have unity of idea.
Negative space Unoccupied areas or empty space surrounding the objects or figures in a
composition.
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Proximity The degree of closeness in the placement of elements.
Repetition Using the same visual element over again within the same composition.
Representational An image suggestive of the appearance of an object that actually exists.
Rigid unity Each element is exactly the same
Unity The degree of agreement existing among the elements in a design.
Visual unity Elements have a similarity to the eye; they are similar in shape, size, etc.
Assignment 3. Do the tutorial quiz
1. When a congruity or agreement exists among the elements in a design it is called … .
2. Unity is also referred to as … .
3. What term refers to the space and subsequent shape created between two objects?
4. The organization of elements in a design is referred to as … .
5. If elements have a common theme, they have unity of idea. This is called … .
6. Elements that have a similarity to the eye, for example similar shape or size, are referred to as
having … .
7. Elements that have a similarity to the eye, for example similar shape or size, are referred to as
having … .
8. Repeating shape, color, texture, direction, angle, or any other property to create unity is called
….
9. Literally meaning “something continues”, this vocabulary word refers to a design that carries
the eye of the viewer through and around the picture. …
10. Another term for alignment is … .
11. A series of lines drawn to create a format or template is called … .
12. When each element is exactly the same it is called … .
13. … is when each element is essentially the same, but the individual elements have slight
variations.
14. An group of found objects composed as a piece of sculpture is called … .
15. When all of the shapes in picture are the same and it is called ….
16. According to book what is the simplest way to achieve unity? ….
17. An artwork created by assembling and pasting a variety of materials to a two-dimensional
surface is referred to as a … .
18. The overall arrangement and organization of visual elements on the two-dimensional surface
is called the … .
19. A planned arrangement of visual elements to construct an organized visual pattern is referred
to as …
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20. Forms drawn or painted onto a two-dimensional surface or any illustration or design is
referred to as a … .
21. A picture that looks like something that actually exists is called … artwork.
22. The book lists 5 ways to achieve unity, which is NOT one of them?
a. Continuity
b. Continuation
c. Alignment
d. Proximity
e. Repetition
23. True or False: Without some aspect of unity, an image or design becomes chaotic and quickly
“unreadable”.
a. True
b. False
24. True or False: Excessive variety can become unity in art.
a. True
b. False
25. True or False: Unity without variety can evoke our worst feelings about assembly lines and
institutions.
a. True
b. False
26. True or False: Unity without variety is disturbing.
a. True
b. False
27. True or False: A representational picture is always a considered realism.
a. True
b. False
Class project
Visual Problems on Unity
Introduction:
“Unity means that a congruity or agreement exists among the elements in a design; they look as
though they belong together, as though some visual connection beyond mere chance has caused
them to come together”.
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“An important aspect of visual unity is that the whole must be predominant over the parts: you
must see the whole pattern before you notice the individual elements…if the viewer sees merely a
collection of bits and pieces, then visual unity doesn’t exist”.—Design Basics, Chapter 2
Application:
The following group activity is designed to help students identify and discuss beginning concepts
of visual unity. Generally, the idea is that students are asked to arrange various shapes and
elements in a "pleasing manner". After making designs with the materials supplied, students and
instructor view the results and discuss issues of unity, emphasis and focal point, and balance.
Students learn that design principles can be discovered in their own basic designs.
Traditional Media
Instructor makes four or five basic geometrical shapes out of a dark colored construction paper:
square, circle, triangle, narrow band, etc. Size of shapes is varied for interest and should be small
enough for all shapes to fit on an 8"x10" background (light in value).
Using the materials made available by the instructor, students are instructed to simply create a
"pleasing design". All shapes must be used and should be kept within the borders of the
background rectangle. They are then glued down to the background surface with rubber cement
or white glue.
Upon completion of their designs, students display them so that they can be seen by all class
members. The instructor then leads a discussion about the design principle of unity and how it is
created. Students define and identify good examples of: Proximity, Repetition, and Continuation.
These “ways of achieving unity” are then discussed relative to the principle of Variety.
Electronic Media
Instructor could choose to make the shapes and background described in A.1.a., using computer
software. The shapes can be made available to students over a network or on a disk.
Using a graphics program such as Adobe Illustrator or even Microsoft Windows Paint, students
are instructed to create a "pleasing design" with available shapes and background dimensions.
For designs that are done electronically, students print out their designs so they can be displayed
and discussed as explained above in the traditional media activity. Alternatively, the instructor
could project student designs onto a screen with a digital projector and lead a discussion on unity
utilizing the terminology from the text.
Project:
Goal: To create a sense of compositional unity emphasizing one of the following: proximity,
repetition, or continuation.
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Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or bristol board—approximately 12"x15".
Black fadeless colored paper.
Compass, ruler, pencils, exacto knife with which to draw and cut out shapes.
Tracing paper for refining and tracing image down to rendering surface.
Rubber cement or white glue.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project can be
designed and rendered either with traditional media or electronic (computer) software. It is also
possible to mix traditional and electronic media. For example, a student could use traditional
media creating most of the design, but utilize Adobe Illustrator to create specific geometric
shapes.
Guidelines:
To create a sense of compositional unity emphasizing one of the following: proximity, repetition,
or continuation.
Project should include five different geometric shapes: circle, square, triangle, two rectangles
(each very different in proportion). There should be a wide variety of shapes.
Project should be rendered with black or very dark fadeless colored paper shapes which are glued
to the rendering surface. Students should be aware of the kinds of shapes created by the white or
negative areas of the composition.
Shapes may be overlapped to create new and interesting shapes or they can "stand alone" with
surrounding shapes and spaces.
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Chapter 3. Emphasis and Focal Point
Assignment 1. Read the text of Chapter 3 and do the following:
1. List and demonstrate a variety of ways to create emphasis in a design using a focal point
2. Give examples of where the focal point can be located in a composition and what effect this
placement has on the viewer.
3. Define value
4 Define focal point
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary below).
1. Give an example of a medium on which you may need to use a large degree of emphasis:
2. Why would you want to use a very large degree of emphasis in some project? Give an
example.
3. If you put the focus point too close to the edge how can you remedy this?
Glossary
Accent A secondary focal point that has less emphasis then the primary one.
Focal point A compositional device emphasizing a certain area or object to draw attention to the
piece and to encourage closer scrutiny of the work.
Radial Design When all the elements in a design point towards one point.
Value A measure of relative lightness or darkness
Assignment 3. Do the tutorial Quiz
1. The point of emphasis or the emphasized element in a picture that initially can attract attention
and encourage the viewer to look further is called the … .
2. … or secondary focal points have less emphasis then the primary one.
3. The measure of relative lightness and darkness is also referred to as … .
4. Unstressed repetition of a motif over the whole surface is referred to as having an … .
5. The following are examples of what?
a. Using repetition of the same object over and over and then having just one of these off by
itself.
b. Using an object of the same value as other elements by itself.
6. What is the term for the location of the focal point when it is directly in the middle of the
picture?
7. A design where all the elements point to the center of the compositions is often called … .
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8. True or False: Primary focal points have less emphasis than accents or secondary focal points.
a. True
b. False
9. True or False: Unstressed repetition of a motif over the whole surface is referred to as having
an Absence of Focal Point.
a. True
b. False
10. True or False: There cannot be more than one focal point in a picture.
a. True
b. False
11. True or False: In a picture you must be careful not to have too many points of focus.
a. True
b. False
12. True or False: When everything is emphasized, nothing is emphasized.
a. True
b. False
13. True or False: Abstract artworks and patterns cannot have focal points.
a. True
b. False
14. True or False: A focal point does not have to relate to the overall design.
a. True
b. False
15. Which is not one of the three ways to achieve emphasis:
a. Emphasis by Isolation
b. Emphasis by Contrast
c. Emphasis by Absence
d. Emphasis by Placement
16. An example of emphasis by contrast is
a. All elements are vertical and the point of focus is a horizontal or diagonal element.
b. Most elements are the same size and the point of focus is smaller or larger one then the
rest.
c. Most elements are dark and the point of focus is light.
d. All of these choices
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e. The overall design uses distorted expressionistic forms and the point of focus is
realistic.
17. You can use change to create emphasis by contrast. An example for this NOT given in the
book is:
a. A change in direction
b. A change in brightness
c. None of these choices
d. A change in color
18. There are two places you should be careful of placing the focal point. The first is the 'dead
center'. What is the second?
a. Top center
b. Lower Left-hand corner
c. Bottom center
d. Too close to the edge of the picture
19. What can happen if you place the focus point too close to the edge of a picture?
a. They may miss it.
b. Nothing.
c. It may pull the viewer's eye off of the page.
d. They will not look at it.
20. An example of emphasis by placement is:
a. Point of focus
b. Both point of focus and perspective
c. Perspective
d. Neither point of focus and perspective
21. According to the book which is more important:
a. Unity and harmony
b. Focal point
c. Unity
d. Harmony
e. Harmony and focal point
f. Unity and focal point
22. An example of a good medium in which the absence of a focal point is common is:
a. Fabric
b. Stencil
c. Painting
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23. Where are radial designs not common?
a. Paintings
b. Craft
c. Architecture
24. Examples of places that you should use a very strong focal point include all of the following
except:
a. Magazine
b. Advertisements
c. Annual report
d. Billboard
Class project
Visual Problems on Emphasis and Focal Point
Introduction:
"How does a designer catch a viewer’s attention? How does the artist provide a pattern that
attracts the eye? Nothing will guarantee success, but one device that can help is a point of
emphasis or focal point. This emphasized element initially can attract attention and encourage the
viewer to look closer." —Design Basics, Chapter 3
Application:
The following group activity is designed to help students identify and discuss beginning concepts
of visual emphasis and focal point. Generally, the idea is that students are asked to arrange
various shapes and elements in such a way as "to attract attention" to a certain area in the design.
After making designs with the materials supplied, students and instructor view the results and
discuss issues of unity, emphasis and focal point, and balance. Students learn that design
principles can be discovered in their own basic designs.
Traditional Media
Instructor makes four or five basic geometrical shapes out of a dark colored construction paper:
square, circle, triangle, narrow band, etc. Size of shapes is varied for interest and should be small
enough for all shapes to fit on an 8"x10" background (light in value).
Using the materials made available by the instructor, students are instructed to simply create a
design which "attracts attention". All shapes must be used and should be kept within the borders
of the background rectangle. They are then glued down to the background surface with rubber
cement or white glue.
Upon completion of their designs, students display them so that they can be seen by all class
members. The instructor then leads a discussion about the design principle of emphasis and focal
point and how it is created. Students define and identify good examples of creating emphasis by
19
Contrast, Isolation, and Placement. These "ways to create emphasis" are then discussed relative to
the principle of no focal point and "overall pattern".
Electronic Media
Using a graphics program such as Adobe Illustrator or even Microsoft Paint, students are
instructed to create a design which "attracts attention" with available shapes and background
dimensions.
For designs that are done electronically, students print out their designs so they can be displayed
and discussed as explained above in the traditional media activity. A second option might be for
the instructor to project student designs onto a screen with a digital projector and lead a
discussion on emphasis and focal point utilizing the terminology from the text.
Project:
Goal: To create an area of emphasis or a focal point in a design utilizing one or more of the
following: contrast, isolation, and/or placement.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or Bristol board—approximately 12"x15". Black fadeless colored paper or black
opaque drawing ink. Compass, ruler, pencils, exacto knife with which to draw and cut out shapes.
Rubber cement or white glue with which to adhere colored paper shapes to the background
surface.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project can be
designed and rendered either with traditional media or electronic (computer) software. It is also
possible to mix traditional and electronic media. For example, a student could use traditional
media creating most of the design, but utilize Adobe Illustrator to create specific geometric
shapes.
Guidelines:
Create a point of interest in a composition by emphasizing contrast, isolation, and/or placement.
Project should include a variety of five geometric (rectangular and curvilinear) shapes in various
sizes. Project should be rendered with black or very dark fadeless colored paper shapes which are
glued to the rendering surface.
Even though one main technique of creating a focal point should be emphasized, other means
may be utilized in establishing a focal point or area of emphasis in the composition.
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Chapter 4. Scale/Proportion
Assignment 1. Read the text of Chapter 4 and do the following:
1. Understand the difference between scale and proportion
2. Identify earthworks
3. Understand the principle of the Golden Mean and the Golden Rectangle and the importance
they play in art and nature.
3. Define juxtaposition and the resulting attitude
4. Define and identify examples surrealism.
5. Define and give examples of hieratic scaling.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary below).
Why is an unusual or unexpected scale arresting and attention-getting?
Glossary
Earthworks Artworks created by altering a large area of land using natural and organic
materials Earthworks are usually large-scale projects that take formal advantage of the local
topography.
Enigmatic
Puzzling or cryptic in appearance or meaning
Façade
The face or frontal aspect of a form
Fresco
A mural painting technique in which pigments mixed in water are used to form the
desired color. These pigments are then applied to wet lime plaster, thereby binding with and
becoming an integral part of a wall.
Golden mean A mathematical ratio in which width is to length as length is to length plus width.
This ratio has been employed in design since the time of the ancient Greeks. It can also be found
in natural forms.
Golden rectangle
The ancient Greek ideal of a perfectly proportioned rectangle using a
mathematical ratio called the Golden Mean.
Hieratic scale
A composition in which the size of figures is determined by their thematic
importance.
Montage
A recombination of images from different sources to form a new picture.
Pop art
An art movement originating in the 1960s that sought inspiration from everyday
popular culture and the techniques of commercial art.
Proportion
Size measured against other elements or against a mental norm or standard.
Subjective
Reflecting a personal bias.
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Surrealism
An artistic style that stresses fantastic and subconscious approaches to art making
and often results in images that cannot be rationally explained.
Assignment 3. Do the tutorial Quiz
1. Another term for size is … .
2. Relative size or the size of an object as measured in comparison to another object or against
some mental norm or standard is referred to as ….
3. A recombination of images from different sources to form a new picture is called a … .
4. When the subject or central figure of a painting is larger than surrounding subjects, it is
referred to as … .
5. Historical pictures often use to convey to the importance of a subject or character.
6. A style of art called
is an art form based on paradoxes; images that cannot be explained in
rational terms.
7. … is linked to ratio.
8. … can be used to draw our notice to the unexpected or exaggerated
9. Large works of art that can only be experienced fully from high up, such as mounding dirt to
create an image over large areas are called …
10. A design which is puzzling or cryptic in appearance or meaning is referred to as … .
11. A mural painting technique in which pigments mixed in water are used to form the desired
color. These pigments are then applied to wet lime plaster, thereby binding with and becoming an
integral part of a wall….
12. The art movement originating in the 1960s that sought inspiration from everyday popular
culture and the techniques of commercial art was called … .
13. When a design or opinion reflects a personal bias it is … .
14. The face or frontal aspect of a form is called the … .
15. Examples of persons whose representation in early art would typically employ hieratic scaling
include all but the following:
a. Jesus
b. The King
c. The Pope
d. A farmer
16. Ways to create a montage include all of the following except:
a. Cut and paste of photographs
b. Drawing
22
c. Digitally
d. Sculpting stone
17. Regular placement and geometric repeating elements give a feel of what?
a. Quiet
b. Order
c. Calm
d. All of these choices
18. Large figures crowded together can impart a feeling of:
a. Chaos
b. Calm
c. Claustrophobia
d. Claustrophobia and chaos
19. A Root Rectangle is all of the following except for which?
a. Root Rectangles are derived from the square.
b. Roots offer artists new methods for exploration.
c. A Root Rectangle has equal sides.
d. Roots often result in agreeable proportions.
20. True or False: Large scale can make for a very obvious focal point, or create visual emphasis.
a. True
b. False
21. True or False: A work of art's design does not matter in relation to its location.
a. True
b. False
22. True or False: A way to create visual interest in a simple object is to magnify it to provide a
new way of looking at it.
a. True
b. False
23. True or False: A sudden change in scale surprises us and gets our attention.
a. True
b. False
24. True or False: Large and small scale can be combined for dramatic contrast and visual
interest.
a. True
b. False
23
25. True or False: The modern advertising industry and fashion business use real proportions in
the depictions of the human form.
a. True
b. False
26. True or False: The Golden Rectangle has influenced art throughout the ages.
a. True
b. False
27. True or False: The Golden Rectangle is found in natural growth patterns.
a. True
b. False
28. True or False: The Golden Rectangle was used in the creation of the Parthenon.
a. True
b. False
29. True or False: Golden Mean is width is to length as length is to length plus width.
a. True
b. False
Class project
Visual Problems in Scale/Proportion
Introduction:
“Scale” and “proportion” are related terms in that both basically refer to size. Scale is essentially
another word for size. “Large scale” is a way of saying big, and “small scale” means small. Big
and small, however, are relative. What is big? Big is meaningless unless we have some standard
of reference. A big dog means nothing if we do not know the size of an average dog. This is what
distinguishes the two terms. Proportion refers to the relative size—size measured against other
elements or against some mental norm or standard”—Design Basics, Chapter 4
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in utilizing the principles of scale and proportion. Four individual
exercises require students to explore emphasis, human scale, context, location, internal
proportions, contrast, Surrealism/fantasy, the Golden Rectangle, and root rectangle. One project
encourages students to apply principles of scale/proportion in a finished composition with
emphasis and unity. Students render their scale/proportion projects in a professional manner with
media used in the field of design, including the computer. The final results are critiqued by their
classmates and by their instructor.
24
Traditional Media
Draw an image either much larger in scale than is expected or much smaller in size than is
considered “normal”. (Review section in the text titled, “Human Scale Reference”.) There must
be a good reason for the unusual scale rendering for it to be successful. Regular drawing pencils
or prismacolor pencils can be applied to sketching paper to complete this rendering.
Use scale of an object in a composition to place emphasis on the area which should be
seen first (the focal point). Usually this means that an object larger than other objects or shapes in
the composition would attract immediate attention. But, in reality, an object made unusually
smaller than surrounding shapes or objects could also “stand out” most.
Select approximately three objects with which to design a simple "still-life" composition.
Change the scale of the objects to create a sense of Surrealism and/or fantasy.
Draw a rectangle based on the Golden Mean (refer to pages 76-79 of the text). Using it
either vertically or horizontally, create a design with horizontal rectangles inside the vertical
format or vertical rectangles inside the horizontal format. Create a crystallographic balance to
provide unity in the design.
Electronic Media
Find a reproduction of a photograph of a simple object in a conventional setting. Scan it
into Adobe Photoshop and, using one of the selection tools, select the object and enlarge it or
reduce it in size. Complete the composition and observe the expressive effect the size change has
made. Using Adobe Photoshop or Adobe Illustrator, design a composition where scale is used to
create one or more focal points. Three areas in a composition connected in a triangular
relationship is a good way to guide the eye around the composition. It is recommended that there
be one dominant focal point, which would contain the largest image, one secondary focal point,
which would contain the next largest image, and a third focal point, which would show the
smallest imagery.
Scan three objects from the immediate environment from a photograph or from a
reproduction of a photograph in a magazine. Change the relative scale of the objects until they
work as a Surreal or fantasy design. This is done by making objects normally perceived as small
larger and by reducing large objects to miniature size. The whole effect should give a “dreamlike” space or feeling.
Using Adobe Illustrator or Adobe Photoshop, draw a rectangle based on the Golden Mean
(refer to pages 76-79 of the text). Position it either vertically or horizontally, thus, creating a
design with horizontal rectangles inside a vertical format or vertical rectangles inside a horizontal
format. Apply the principle of crystallographic balance to provide unity in the design.
25
Project:
Goal: To create a composition that expresses the visual qualities of Surrealism or fantasy by
emphasizing the principles of relative size and proportion.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or Bristol board approximately 12"x15"
Five objects to draw or scan into the composition.
Optional media: acrylic paint (including mediums, palettes, and brushes), prismacolor pencils, or
color markers.
Tracing paper with which to draw down imagery onto the rendering surface
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project can be
designed and rendered either with traditional media or electronic (computer) software. It is also
possible to mix traditional and electronic media. For example, a student could use traditional
media for making an initial sketch for the project and then utilize Photoshop to experiment with
size and proportion as well as the juxtaposition of various objects.
Guidelines:
Choose five objects, both large and small, and change their relative sizes and proportions to
express a Surreal or fantasy space.
The sizes and proportions of the objects included should create unusual juxtaposition of objects
and space. The principle of contrast and emphasis must be used to attract the eye and guide it
around the composition in a triangular fashion.
Objects chosen for the composition should be ordinary, everyday images which are easy to
recognize and when distorted in size and proportion for spatial effect of fantasy.
Imagery can be painted with acrylics, colored with prismacolor pencils or rendered with markers.
Finished size for the composition is approximately 12"x15"
26
Chapter 5. Balance
Assignment 1. Read the text of Chapter 5 and do the following:
1. Discuss balance and the role that it plays in design.
2. List and define the five different types of balance.
3. Differentiate between symmetrical and asymmetrical balance.
4. Discuss the different reactions that types of balance can create in the viewer.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary below).
Talk about where radial balance is commonly found and give an example.
Glossary
Asymmetrical balance Balance achieved with dissimilar objects that have equal visual weight or
equal eye attraction
Axis A line of reference around which a form or composition is balanced
Balance The equilibrium of opposing or interacting forces in a pictorial composition
Bilateral Symmetry Balance with respect to a vertical axis
Classical Suggestive of Greek and Roman ideals of beauty and purity of form, style, or technique
Crystallographic balance Balance with equal emphasis over an entire two-dimensional surface
so that there is always the same visual weight or attraction wherever you may look. Also called
all over pattern
Formal Traditional and generally accepted visual solutions
Mandala A radial concentric organization of geometric shapes and images commonly used in
Hindu and Buddhist art
Radial balance A composition in which all visual elements are balanced around and radiate from
a central point
Value A measure of relative lightness or darkness
27
Assignment 3. Do the tutorial quiz.
1. …. is a distribution of visual weight within a composition
2. A line of reference around which a form or composition is balanced, is called the….
3. Visual balance between opposing compositional elements is referred to as …
4. … occurs when opposing or interacting forms are out of equilibrium in a pictorial composition.
5. Equal weight on the left and right side of a vertical axis is referred to as …
6. … is when equal weight is placed on the top and bottom of a composition
7. Asymmetrical Balance is also called ….
8. Dissimilar objects that have equal visual weight or attraction/appeal is called …
9. When you use the same shape/s repeated on left and right side of axis it is called …
10. The area between the contours of a shape is called a …
11. When you have equal emphasis over an entire design it is called …
12. The term … is suggestive of Greek and Roman ideals of beauty and purity of form, style, or
technique.
13. A traditional and generally accepted visual solution is referred to as a … solution.
14. A radial concentric organization of geometric shapes and images commonly used in Hindu
and Buddhist art is called a … .
15. Circling or radiating out from a common center point is called … .
16 True or False: Sense of Balance is innate, meaning we are born with it.
a. True
b. False
17. True or False: Using a deliberate lack of balance or imbalance in a design can create comfort
in the viewer
a. True
b. False
18. True or False: Because of gravity, we expect more to be on the bottom
a. True
b. False
19. True or False: Symmetrical Balance is also referred to as formal balance
a. True
b. False
20. True or False: Large areas of text are considered a texture
a. True
b. False
28
21. True or False: One letter or one word can be considered shape
a. True
b. False
22. True or False: Our eyes are drawn to a smooth surface versus a textured one
a. True
b. False
23. True or False: The Laws of Physics says that to balance two objects of different weights you
should place the larger one closer to the center
a. True
b. False
24. True or False: Methods for creating balance should not be combined together.
a. True
b. False
25. One disadvantage of a symmetrical composition is that it is:
a. Boring
b. Calming
c. Exciting
26. Which of the following does not belong in a list of the four types of balance?
a. Grid
b. Allover pattern
c. Symmetrical
d. Radial
27. An example of symmetrical balance is:
a. Dissimilar objects having equal visual weight or attraction/appeal
b. Circular Balance
c. Equal emphasis over the whole design
d. Same shape/s repeated on left and right side of axis
28. An example of asymmetrical balance is:
a. Dissimilar objects having equal visual weight or attraction/appeal
b. Same shape/s repeated on left and right side of axis
c. Circular Balance
d. Equal emphasis over the whole design
29. An example of allover pattern is:
a. Dissimilar objects having equal visual weight or attraction/appeal
b. Same shape/s repeated on left and right side of axis
29
c. Circular Balance
d. Equal emphasis over the whole design
30. In Horizontal Balance, if you place more weight on the top you convey a sense of
a. Unstable and dynamic
b. Stability and calm
31. Symmetrical balance is:
a. All of these choices
b. Easiest to create
c. Most often used in architecture and clothing. (In architecture, this is called classical in
reference to the Greeks.)
d. Easiest to recognize
32. Reactions to symmetrical balance include:
a. Permanence
b. All of these choices
c. Strength
d. Static
e. Sedate
33. One Advantage of a symmetrical composition is that it:
a. Creates feeling of discomfort
b. Is boring
c. Immediately creates a focal point
34. Which type of balance appears casual and less planned, but in fact, is harder to create?
a. Symmetrical Balance
b. Allover Pattern (Crystallographic)
c. Radial
d. Asymmetrical Balance
35. There are three ways provided in the book to create asymmetrical balance. Which is not one
of those three?
a. Balance by Value and Color
b. Balance by scale
c. Balance by Position and Eye Direction
d. Balance by Shape and Texture
36. Which is not an example of balance by value and colour?
a. An area of detail balanced by an area of contrast
b. A large area of dark balanced by a bright color
30
c. A large shape balanced by texture
37. What are our eyes attracted to first?
a. Black and white
b. Colour
Class project
Visual Problems on Balance
Introduction:
“In assessing pictorial balance, we always assume a center vertical axis and usually expect to see
some kind of equal weight (visual weight) distribution on either side. This axis functions as the
fulcrum on a scale or seesaw, and the two sides should achieve a sense of equilibrium”.
—Design Basics, Chapter 5
Application: The following group activity is designed to help students identify and discuss
beginning concepts of visual balance. Generally, the idea is that students are asked to arrange
various shapes and elements in a "balanced design". After making designs with the materials
supplied, students and instructor view the results and discuss issues of unity, emphasis and focal
point, and balance. Students learn that design principles can be discovered in their own basic
designs.
Traditional Media
1. Instructor makes four or five basic geometrical shapes out of a dark colored construction paper
(плотный картон): square, circle, triangle, narrow band (узкая полоса), etc. Size of shapes is
varied for interest and should be small enough for all shapes to fit on an 8"x10" background (light
in value) светлый для контраста.
2. Using the materials made available by the instructor, students are instructed to simply create a
"balanced design". All shapes must be used and should be kept within the borders of the
background rectangle. They are then glued down to the background surface with rubber cement
(резиновый клей) or white glue (клей ПВА).
3. Upon completion of their designs, students display them so that they can be seen by all class
members. The instructor then leads a discussion about the design principle of balance and how it
is created. Students define and identify good examples of: symmetrical, asymmetrical, and
crystallographic balance. These types of balance are then discussed relative to the principle of
imbalance or tension.
31
Electronic Media
1. Instructor could choose to make the shapes and background described in four or five basic
geometrical shapes: square, circle, triangle, narrow band, etc., using computer software. The
shapes can be made available to students over a network or on a disk.
2. Using a graphics program such as Adobe Illustrator or even Microsoft Paint, students are
instructed to create a "balanced design" with available shapes and background dimensions.
3. For designs that are done electronically, students print out their designs so they can be displayed
and discussed as explained above in the traditional media activity. A second option might be for
the instructor to project student designs onto a screen with a digital projector and lead a
discussion on balance utilizing the terminology from the text.
Project:
Goal: To create a composition, which emphasizes the technique of symmetrical, asymmetrical, or
radial balance.
Materials:
A. Traditional design media that will be employed in the execution of this project.
1. Illustration or Bristol board (цветной склеенный картон)—approximately 12"x15" (A3).
2. Black drawing ink.
3. Opaque white water based paint to mix greys.
4. Tracing paper (калька) for refining and tracing image down to rendering surface.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project can be
designed and rendered either with traditional media or electronic (computer) software. It is also
possible to mix traditional and electronic media. For example, a student could use traditional
media creating most of the design, but utilize Adobe Illustrator to create specific geometric or
organic shapes.
Guidelines:
1. Create an example of symmetrical, asymmetrical, or radial balance in a unified design.
2. Project should include a variety of both geometric and organic ( имеющий собственную
структуру) shapes. Their sizes should also be varied. There could be five to eight shapes.
3. Project is to be rendered with black ink or paint, or it can be rendered with fadeless colored paper
glued onto white illustration or Bristol board.
4. Even though only one type of balance is stressed to produce a unified composition, a secondary
type of balance can be employed in the design.
32
Chapter 6. Rhythm
Assignment 1. Read the text of Chapter 6 and do the following:
1. Give examples of artworks that display rhythm and explain the role that rhythm plays in design
2. Identify and recognize the concept of rhythm in nature and the golden section.
3. Define and differentiate between legato and staccato
4. Define and demonstrate progressive rhythm
5. Define and demonstrate alternating rhythm
2. Assignment 2. Oral Quiz. Express your views working in groups (see Glossary below).
1. Give an example of elements and methods that you might use to create visual rhythm.
2. Give an example of the way in which nature exhibits rhythm.
Glossary
Alternating rhythm A rhythm that consists of successive patterns in which the same elements
reappear in a regular order. The motifs alternate consistently with one another to produce a
regular (and anticipated) sequence.
Legato A connecting and flowing rhythm
Progressive rhythm Repetition of shape that changes in a regular pattern.
Rhythm An element of design based on the repetition of recurrent motifs
Staccato Abrupt changes and dynamic contrast within the visual rhythm.
Suprematism An early 1900s experimental form of art in Russia that reflected the interest in the
industrial era
Value A measure of relative lightness or darkness
Assignment 3. Do the tutorial quiz.
1. True or False: Rhythm cannot be visual.
a. True
b. False
2. True or False: Rhythmic pattern can establish an emotional response in a viewer.
a. True
b. False
3. True or False: Visual rhythm is based on repetition.
a. True
b. False
33
4. True or False: Points of emphasis in irregular patterns cannot be both exciting and unsettling.
a. True
b. False
5. True or False: Rhythm is a characteristic of nature.
a. True
b. False
6. True or False: An example of progressive rhythm is a series of shapes that gets bigger or
smaller as it repeats.
a. True
b. False
7. True or False: The rhythm of an artwork's design can create a sensation of heat, metallic sound,
etc.
a. True
b. False
8. By placing the same object or similarly-shaped objects over and over again the same distance
apart you are creating what?
9. Measurable rhythm is referred to as … .
10. Slowing rhythm is referred to as … .
11. A successive pattern in which the same elements reappear in a regular order is called an … .
12. The repetition of a shape that changes in a regular manner is called ... .
13. When a visual experience (an art piece) stimulates one of our other senses it is referred to as
….
14. What is the name of an early 1900s experimental form of art in Russia that reflected the
interest in the industrial era?
15. To create visual rhythm, repeat which of the following?
a. Texture
b. Shape
c. All of these choices
d. Colour
16. A rhythm which is slowing can create what sort of reaction?
a. Relaxed
b. Calm
c. Nervous
d. Relaxed and calm
34
17. A rhythm that changes abruptly and has dynamic contrast can create what type of reaction?
a. Lively
b. Startling
c. All of these choices
d. Sudden
18. Progressive Rhythm can also use which of the following?
a. Texture
b. All of these choices
c. Colour
d. Value
e. Shape
19. Which of the following is an example of progressive rhythm?
a. Perspective
b. Texture
c. Water colour
d. Unity
Class project
Visual Problems on Rhythm
Introduction:
“Rhythm as a design principle is based on repetition. Rhythm, as an element of visual unity, is
exhibited in some manner by almost every work of art. However, rhythm involves a clear
repetition of elements that are the same or only slightly modified”.—Design Basics, Chapter 6
Application:
The following exercises and project are designed to give the student both short-term and longterm experiences in creating visual rhythm. Four individual exercises require students to focus on
specific ways of creating rhythm through repetition. One culminating project encourages students
to synthesize various important ingredients of rhythm. Students render their rhythm projects in a
professional manner with media used in the field of design, including the computer. The final
results are critiqued by their classmates and their instructor.
Traditional Media
1. Using a sheet of graph paper with an underlying grid, draw repetitions of a simple shape in
such a way as to create a rhythmic movement.
35
2. Choose one of the five senses (e.g., sound, touch, taste, smell), besides visual, and create a
kinesthetic rhythm. Select a word such as jumpy, crackling, sliding, harsh, rough, sweet, etc. as a
starting point. Then express its emotional content through visual rhythm.
3. Draw two contrasting shapes, one emphasizing straight lines and one curved edges, onto an
underlying grid. Alternate them, back and forth, in a repetitious, rhythmic fashion across the grid.
Then add the element of value, with a light and dark alternation throughout the design.
4. Create a progressive change of shape, using an underlying grid. Start with a simple angular
shape and progressively change it into a shape with smooth curves. Next add a progression of
size, small to large, to the rhythmic design. Finally, add either a progression of value (light to
dark) or color (warm to cool) to the original design.
Project:
Goal: To emphasize one type of rhythm, either alternating or progressive, in a finished design.
Materials:
A. Traditional design media that will be employed in the execution of this project.
1. Illustration or Bristol board—approximately 12"x15".
2. Black drawing ink.
3. Opaque white water based paint to mix greys.
4. Tracing paper for refining and tracing image down to rendering surface.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project can be
designed and rendered either with traditional media or electronic (computer) software. It is also
possible to mix traditional and electronic media. For example, a student could use traditional
media creating most of the design, but utilize Adobe Illustrator to create gradation shapes and
values.
Guidelines:
1. A sense of movement should be created by stressing either alternating or progressive rhythm.
2. Project may exhibit a second type of rhythm as long as it does not compete with the main
rhythm being emphasized.
3. Project should be rendered with line and shape utilizing mainly black and white values. Black
ink is used for the former, white of the board’s surface is used for the latter.
4. Project may include values of grey and/or progressions of grey in the final rendering of the
rhythm design.
Учебно-методическое издание
ПАВЛОВА НАТАЛЬЯ АЛЕКСАНДРОВНА
УПРАЖНЕНИЯ И КОНТРОЛЬНЫЕ ЗАДАНИЯ
К УЧЕБНИКУ DESIGN BASICS (6TH EDITION)
ЧАСТЬ I. ПРОЦЕСС ДИЗАЙНА. ПРИНЦИПЫ ДИЗАЙНА
ДЛЯ СТУДЕНТОВ ШКОЛЫ “ДИЗАЙНА”,
ОБУЧАЮЩИХСЯ ПО МЕЖДУНАРОДНОЙ ПРОГРАММЕ
УНИВЕРСИТЕТА УЭЛЬСА
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Н.А. ПАВЛОВА
УПРАЖНЕНИЯ И КОНТРОЛЬНЫЕ ЗАДАНИЯ
К УЧЕБНИКУ DESIGN BASICS (6TH EDITION)
ЧАСТЬ II. ЭЛЕМЕНТЫ ДИЗАЙНА
для студентов школы “Дизайна”,
обучающихся по международной программе
Университета Уэльса
Челябинск 2013
Павлова Н.А. Упражнения и контрольные задания к учебнику DESIGN
BASICS (6TH EDITION) Часть II. Элементы дизайна: для студентов школы
“Дизайна”, обучающихся по международной программе Университета
Уэльса. – Челябинск: НОУВПО РБИУ, 2013. – 48 с.
Данное издание предназначено для студентов III-IV курсов высшей
школы «Дизайна», обучающихся по направлениям «Дизайн среды», «Дизайн
графический», «Дизайн костюма» в рамках международной программы
Университета Уэльса.
Издание
включает упражнения и контрольные задания к учебнику
Design Basics (6th edition) под редакцией David A. Lauer, Stephen Pentak.
Издание состоит из двух частей: первая часть охватывает материал
двух разделов учебника, посвященных процессу дизайна и базовым
принципам дизайна. Во второй части задания направлены на закрепление
материала по базовым элементам дизайна.
Рецензенты:
Щербов А.Д. – кандидат педагогических наук, заведующий кафедрой
лингвистики и межкультурной коммуникации НОУВПО РБИУ
© Павлова Н.А., 2013
© НОУВПО РБИУ, 2013
CONTENTS
Chapter 7.
Line……………………………………………………………..4
Chapter 8.
Shape and Volume………………………………………….11
Chapter 9.
Texture…………………………………………………….....17
Chapter 10.
Illusion of Motion………………………………………...…..21
Chapter 11.
Illusion of Space………………………………………..……28
Chapter 12.
Value……………………………………………………...…..33
Chapter 13.
Colour…………………………………………………….......39
.
4
Chapter 7. Line
Assignment 1. Read the text of Chapter 7 and do the following:
1. List and demonstrate different line qualities.
2. Discuss the different emotions and feelings that line quality can impart in the viewer.
3. Describe and explain the role of line in art and design.
4. Differentiate between implied line and psychic line.
5. Define and give examples of lost-and-found contour.
6. Demonstrate and identify contour and gesture drawings.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary
below).
1. There are many types of line. Please pick two and describe the way in which these
two line types could be used in conjunction and the emotional response that this might
evoke in the viewer.
Glossary
Contour
A line used to follow the edges of forms and thus describe their outlines.
Cross-hatching
A drawing technique in which a series of lines are layered over
each other to build up value and to suggest form and volume.
Gesture
A line that does not stay at the edges but moves freely within forms.
These lines record movement of the eye as well as implying the motion in the form.
Implied line
An invisible line created by positioning a series of points so that the eye
will connect them and thus create movement across the picture plane.
Impressionism
An artistic style that sought to recreate the artistUs perception of
the changing quality of light and color in nature.
Line
A visual element of length. It can be created by setting a point in motion.
Line quality Any one of a number of characteristics of line determined by its weight,
direction, uniformity or other features are called
Lost-and-found contour
A description of a form in which an object is revealed by
distinct contours in some areas while other edges simply vanish or dissolve into the
ground.
Psychic line
A mental connection between two points or elements. This occurs when
a figure is pointing or looking in a certain direction, which causes the eye to follow
toward the intended focus.
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Assignment 3. Do the tutorial quiz
1. Line can evoke different emotional responses in the view. Which of the following
does not apply to line quality?
a. Calm
b. Excited
c. Positive
d. Graceful
2. When the viewer automatically connects a series of unconnected points it creates a(n)
a. Implied line.
b. Psychic line.
3. When there is no real line, but the placement of the objects causes the viewer to look
in a certain direction it is called an
a. Implied line.
b. Psychic line.
4. There are three types of line direction. Which is not one of those three?
a. Diagonal
b. Horizontal
c. Stagnant
d. Vertical
5. The book discusses two types of drawing. Which two are they?
a. Straight & Crosshatching
b. Clear & Scribbled
c. Contour & Gesture
6. To create gray, place a series of lines close together; the closer the lines are the
a. Lighter it appears.
b. Darker it appears.
7. What is the most common design element?
a. Line
b. Color
c. Shape
8. One of the most important aspects of line is … .
9. In design, an element that has no dimensions, no height and no width is called a … .
10. A point in motion which is capable of infinite variety is called a … .
11. Shapes which are bounded or bordered by line are called … shapes.
12. The viewer's eye tends to follow what in a picture or composition? (…)
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13. What type of line implies quiet and repose and sleep? (…)
14. What type of line implies strong, action and stability? (…)
15. What type of line implies movement? (…)
16. … line is used to define the outside of the form.
17. In … drawing describing the shape is less important then showing the dynamics or
action of a pose.
18. Crisscrossed lines often used for shading are called … .
19. A type of line in painting that emphasizes the edges is called … .
20. … painting is distinguished by the clarity of line; an emphasis on edges creates
explicit lines.
21. Any one of a number of characteristics of line determined by its weight, direction,
uniformity or other features are called … .
22. When one part of the body is revealed by sharp contour, but the edge then
disappears into a mysterious darkness, it is referred to as … .
23. An Example of lost and found contour is exemplified by … technique.
24. … is the name of an artistic style that sought to recreate the artist's perception of the
changing quality of light and color in nature.
25. True or False: The following are different emotional responses that line can evoke in
a viewer: nervous, excited, calm, graceful, dancing.
a. True
b. False
26. True or False: Line describes shape, and shape describes objects.
a. True
b. False
27. True or False: There are 3 types of line.
a. True
b. False
28. True or False: The three type of line are: implied, psychic, and stagnant.
a. True
b. False
29. True or False: The three types of directional line are horizontal, vertical, and
diagonal.
a. True
b. False
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30. True or False: Horizontal line implies quiet and repose, sleep.
a. True
b. False
31. True or False: Vertical line implies strength, action, and stability.
a. True
b. False
32. True or False: Diagonal line implies movement.
a. True
b. False
33. True or False: Line can have value.
a. True
b. False
34. True or False: An outlined shape is essentially flat.
a. True
b. False
35. True or False: Crosshatching can be used for shading and creating a 3-Dimentional
effect.
a. True
b. False
36. True or False: Line in painting is used to outline the forms.
a. True
b. False
37. True or False: The impact of dark, bold lines is used across time to illustrate weight.
a. True
b. False
38. True or False: Some artists use repeated linear stokes to color in an image; they are
not smoothed over.
a. True
b. False
39. True or False: Photographers often chose the lighting for a subject to exploit the
emotional and expressive effects of lost-and-found contour.
a. True
b. False
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Class project
Visual Problems on Line
Introduction:
“What is line? If we think of a point as having no dimensions (neither height nor width),
and then we set that point in motion, we create the first dimension: line. In theory, line
consists only of the dimension of its length, but, in terms of art and design, we know
line can have varying width as well”. — Design Basics, Chapter 7
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in creating visual expression of line. Four individual exercises
require students to focus on specific qualities of line. One culminating project
encourages students to synthesize a variety of types of lines used in design. Students
render their projects involving line, in a professional manner, with media used in the
field of design, including the computer. The final results are critiqued by their
classmates and their instructor.
Traditional Media
Using a sheet of sketching paper approximately 9"x12" in size, students create a variety
of expressive lines. The instructor assigns students to express specific "feeling" words
by designing lines for each word. Here are a few words that could be expressed by lines:
scatter, prickly, smooth, flamboyant, sensual, jagged, and calm.
Students are assigned to find in nature an object with lines that make up its surface
quality. They are then to draw lines that are observed so the object is visualized
according to its lines. An example might be the lines in bark that reveal the contours of
a tree. This could be done with pen and ink, or simply, pencil.
Using tracing paper, students locate reproductions of famous paintings in western art
history and trace expressive lines found in their compositions. They are instructed to
identify and trace horizontal or calm lines, vertical or regal lines, and diagonal or
dynamic lines. Student tracings are, thus, viewed and discussed according to the terms
found in the text regarding line direction.
Using regular sketching paper, students are assigned to create three different values
(dark, middle, and light) with line. Values are made with lines in three separate squares
approximately 3" in dimension. Inside each square, lines are drawn together so as to
create the effect of light and dark. A technique of cross-hatching and pattern are used to
create this effect.
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Electronic Media
Using an electronic software program, i.e., Adobe Illustrator, create a variety of lines
expressing specific "feeling" words by designing lines for each word. Here are a few
words that could be expressed by lines: scatter, prickly, smooth, flamboyant, sensual,
jagged, and calm. A variety of Illustrator tools can be used to design expressive
qualities in lines. About eight different expressive lines could be attempted. When
completed, they are printed and compared to hand-drawn lines of expression.
Using an electronic software program, such as Adobe Illustrator, students are assigned
to simulate lines found in nature. One way to do this is to find a natural object with
observable lines, scan it into the computer, and then use the scanned image or surface as
a template for designing various lines perceived in the natural object. Otherwise, a
photograph could be made and scanned into the computer. Prints of the lines drawn with
the software tools are made and discussed relative to pattern qualities of line.
Using Adobe Illustrator, students scan in reproductions of paintings from art history
which illustrate directional lines, i.e. horizontal, vertical, and diagonal. In the Adobe
Illustrator program, students trace the directional lines found in the paintings and then
print the results. They also print the reproduction of the painting so that the two
(painting and directional lines) can be displayed and discussed together.
Using Adobe Illustrator software, students are assigned to create three different values
(dark, light, and middle) with line. Values are made inside three separate squares, each
approximately 3" in dimension. Values inside the squares are made by utilizing pattern
and line options in the Illustrator software. Patterns or values can be created in
Illustrator utilizing line and "transform" options.
Project:
Goal: To create an allover composition of lights and darks by using a grid pattern as a
basic motif. Variety made with directional lines (horizontal, vertical, and diagonal)
should be emphasized.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or bristol board—approximately 12"x15".
Black drawing ink.
Pencil to draw initial lines and pattern.
Tracing paper for refining and tracing image down to rendering surface.
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B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could use traditional media in creating the initial drawing or idea for the design.
Then, Adobe Illustrator could be used to make the finished project, which could be
printed and cut to fit the required dimensions of the final presentation.
Guidelines:
The grid motif can be varied in terms of rows of pattern and proportion of size. In other
words, some rows can be vertically designed whereas others might be horizontal.
Variety with unity is the primary emphasis. Thus, various values, directions, and
expressions of line are created in this project.
Project should be rendered as various lines drawn onto the rendering surface with black
drawing ink. The illusion of grays is a result of lines varying in width and placement
across the white surface of the board.
Lined designs or values can be drawn on paper, then cut out and glued to the surface of
the illustration board.
11
Chapter 8. Shape and Volume
Assignment 1. Read the text of Chapter 8 and do the following:
1. Differentiate the between shape and volume.
2. Define and identify examples of abstraction.
3. Define and identify biomorphic shapes.
4. Define and differentiate between figure and form in a work of art.
5. Identify and give examples of idealism and naturalism in works of art.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary
below).
1. Why is shape considered a more precise term for an object then form in art?
2. What is the different between naturalism and distortion?
Glossary
Abstraction
A visual representation that may have little resemblance to the real
world. Abstraction can occur through a process of simplification or distortion in an
attempt to communicate an essential aspect of a form or concept.
Biomorphic
Describes shapes derived from organic or natural forms.
Cubism
An art style that takes natural forms and turns them into geometric
planes.
Curvilinear
Rounded and curving forms that tend to imply flowing shapes and
compositions.
Distortion
A departure from an accepted perception of a form or object. Distortion
often manipulates established proportional standards.
Figure Any positive shape or form noticeably separated from the background or, the
negative space.
Form When referring to objects, it is the shape and structure of a thing. When
referring to two-dimensional artworks, it is the visual aspect of composition, structure,
and the work as a whole.
Ground
The surface of a two-dimensional design that acts as the background or
surrounding space for the figures in the composition.
Idealism
An artistic theory in which the world is not reproduced as it is, but as it
should be. All flaws, accidents, and incongruities of the visual world are corrected.
Installation
A mixed-media artwork that generally takes into account the
environment in which it is arranged.
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Naturalism
The skillful representation of the visual image, forms, and proportions as
seen in nature with an illusion of volume and three-dimensional space.
Negative space
Unoccupied areas or empty space surrounding the objects or
figures in a composition.
Nonobjective A type of artwork with absolutely no reference to, or representation of,
the natural world. The artwork is the reality.
Positive shape
Rectilinear
Any shape or object distinguished from the background.
Composed of straight lines.
Shape A visually perceived area created either by an enclosing line or by color and
value changes defining the outer edges.
Volume
The appearance of height, width, and depth in a form.
Assignment 3. Do the tutorial quiz
1. A visually perceived area created by an enclosing line or color or value changes,
which define an edge, is called a … .
2. What is another term for Shape?
3. Forms that have straight edges, and sharp angular angles and rectangular planes are
referred to as … .
4. A continuously curved form is referred to as … .
5. Name an art style that emphasizes curvilinear and natural shapes.
6. Shape is normally considered to have how many Dimensions?
7. What we study … ,is basically an arrangement of shapes.
8. … is concerned with true to life appearance.
9. … represents the world not as it is, but how the artist feels it should be. It is nature or
life perfected.
10. A simplification of a form to its most basic shapes and forms is called … .
11.When elements of an image are simplified down to simple building blocks it is
referred to as … .
12. Despite the complexity of a form, most all images can be reduced to basic what?
13. Abstract shapes that allude to organic forms are called … .
14. Shapes that have no reference or subject matter are called … .
15. If paintings have shapes, then sculptures have … .
16. An art form that uses both two-dimensional and three-dimensional form in a large
format to evoke emotion and often fills up an entire room is called … art.
17. What is another term for Naturalism?
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18. When the artist purposely changes or exaggerates the forms of the subject from what
is seen in nature it is called … .
19. Picasso used this art style to turn natural forms into geometric planes.
20. … means obscuring the motif or meaning.
21. Which is considered a more precise term for talking about object in art?
a. Form
b. Shape
22. Pictures can exist without all of the following elements except:
a. Texture
b. Color
c. Shape
23. When the artist reproduces from a visual image the forms and proportions as seen in
nature it is called:
a. Both Naturalism and Realism
b. Realism
c. Neither Naturalism nor Realism
d. Naturalism
24. Which style emphasizes the emotion of the picture and subject mater or the action?
a. Distortion
b. Realism
c. Naturalism
d. Idealism
25. Which types of shapes are thought of as natural despite the fact that nature uses
geometric shapes on a molecular or microscopic level to create these organic forms.
a. Rectilinear shapes
b. Curvilinear shapes
26. The main shape or subject in a picture is called
a. Positive and Figure
b. Negative and Positive
c. Negative
d. Figure
e. Positive
27. The space in which this figure or positive shape resides.
a. Negative and Ground
b. Negative
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c. Ground
d. Positive
e. Ground and Positive
28. True or False: Negative spaces are as important to design as the figure or positive
shape.
a. True
b. False
29. True or False: Negative spaces are unimportant.
a. True
b. False
30. True or False: Japanese artists often design and use the negative space of their
images in unique ways.
a. True
b. False
31. True or False: Negative shapes are very important in letterform and typography.
a. True
b. False
32. True or False: The change between dark and light and the change between positive
and negative shapes can contribute to visual interest to a painting or design.
a. True
b. False
33. True or False: Sometimes positive and negative shapes are integrated to such an
extent that there is truly no visual distinction.
a. True
b. False
34. True or False: Optical illusions use a very distinct differentiation between positive
and negative space.
a. True
b. False
35. True or False: Governments often use realism to promote their political system.
a. True
b. False
15
Class project
Visual Problems in Shape/Volume
Introduction:
"A shape is a visually perceived area created by either an enclosing line or color or
value changes defining the outer edge… Shape usually is considered a two-dimensional
element, and the words "volume" and "mass" are applied to the three-dimensional
equivalent. In the simplest terms, paintings have shapes and sculptures have masses." —
Design Basics, Chapter 8
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in creating rectilinear and curvilinear shapes. Four individual
exercises require students to explore various types of shapes such as: naturalistic,
idealistic, abstract, and nonobjective. Students will also practice different ways of
creating positive and negative shapes. One project encourages students to compose
various types of shapes to create a sense of unity with variety. Students render their
shape projects in a professional manner with media used in the field of design, including
the computer. The final results are critiqued by their classmates and by their instructor.
Traditional Media
Choose an interesting three-dimensional object from your surroundings. Draw the same
object in three different styles: naturalistic, idealistic, and abstract. Use various drawing
pencils to do the renderings.
Draw/design a composition made of nonobjective shapes. Rectilinear shapes are to be
emphasized in this composition.
Draw/design a composition made of nonobjective shapes. Curvilinear shapes
(biomorphic) should be emphasized in this composition.
Design a two-dimensional composition emphasizing positive and negative shapes
through the use of lights and darks. Light shapes are to be on dark ones and dark shapes
are to be on light ones.
Electronic Media
Choose an object from one’s surroundings, either from nature or mass-produced. Using
the various tools and filters in Adobe Illustrator or Adobe Photoshop, draw three views
of the object: naturalistic, idealistic, and abstract.
Using a drawing program such as Adobe Illustrator, design a composition made of
nonobjective shapes. Rectilinear shapes made with straight-line tools in the software
should be emphasized in the composition.
16
Using a drawing program such as Adobe Illustrator, design a composition made of
nonobjective shapes. Curvilinear shapes, made with vector or graphics tools in the
software, should be emphasized in the composition.
Using a drawing program such as Adobe Illustrator, design a composition emphasizing
positive and negative shapes through the use of lights and darks. Light shapes can be
placed on dark or black backgrounds and dark shapes can be designed onto light or
white backgrounds.
Project:
Goal: To create a design composed of nonobjective shapes which stresses the use of
rectilinear or curvilinear shapes. In the former, a strong geometric sense would be
expressed; whereas in the latter, a strong biomorphic quality could be presented.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or bristol, board approximately 12"x15".
Black drawing ink.
Speedball points with pen holder or mechanical drawing pen.
White opaque watercolor paint for corrections and, possibly for making grey values
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could use Photoshop to develop design ideas and use traditional media to make
the final rendering.
Guidelines:
Approximately six shapes, either rectilinear or curvilinear should be designed into a
single composition with variety and unity.
The design should emphasize either rectilinear or curvilinear shapes; however, some of
the opposing shapes can be used for variety and contrast.
Positive and negative shapes are to be an integral part of the design. A positive/negative
quality can be created to a great extent using light and dark values. They should assist in
the unification of the foreground and background shapes in the composition
A focal point should be located near the general center of the composition to provide a
sense of stability and balance.
17
Chapter 9. Texture
Assignment 1. Read the text of Chapter 9 and do the following:
1. Define and differentiate between texture and pattern.
2. Expound on the uses of texture in design.
3. Discuss the reaction that texture can create in a viewer.
4. Define and discuss the technique of trompe l’oeil.
5. Define and identify instances of impasto.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary
below).
1.Talk about the differences between texture and pattern and how you might use the two
in a painting or design.
2. Describe what you can use to create different textures in art.
Glossary
Collage
An artwork created by assembling and pasting a variety of materials to a
two-dimensional surface.
Impasto
A painting technique in which pigments are applied in thick layers or
strokes to create a rough three-dimensional paint surface on the two-dimensional
surface.
Medium
The tools or materials used to create an artwork.
Pattern
The repetition of a visual element or module in a regular and anticipated
sequence.
Tactile texture The use of actual materials to create a surface that can actually be felt or
touched.
Texture
Trompe l’oeil
The surface quality of objects that appeals to the tactile sense.
A French term meaning “fool the eye”. The objects are in sharp
focus and delineated with meticulous care to create an artwork that almost fools the
viewer into believing that the images are the actual objects.
Visual texture
A two-dimensional illusion suggestive of a tactile quality.
18
Assignment 3. Do the tutorial quiz
1. The surface quality of an object is referred to as … .
2. Texture that can be felt is called … .
3. “Relief” painting that brings tactile texture to a painting by using thick pigment is
called … .
4. Different variations in light and dark are referred to as … .
5. Creating a design by cutting and pasting bits of cloth, paper, and other materials is
called … .
6. Making the viewer see texture where there really is none is referred to as … .
7. Also commonly known as “deceptive painting”, when the picture and object are so
realistic that the viewer is momentarily fooled it is called … .
8. A repetitive design where the same motif appears again and again is called … .
9. The tools or materials used to create an artwork are called the … .
10. Which makes the viewer want to touch it:
a. Pattern
b. Texture
Class project
Visual Problems in Texture
Introduction:
“Texture refers to the surface quality of objects. Texture appeals to our sense of touch.
Even when we do not actually feel an object, our memory provides a sensory reaction or
sensation of touch…all objects have some surface quality, even if it is only an
unrelieved smooth flatness”.
— Design Basics, Chapter 9
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in creating actual and implied textures. Four individual exercises
require students to explore various types of actual textures. Students will also practice
different ways of creating implied textures on two dimensional surfaces. One project
encourages students to synthesize disparate textures and, at the same time, assure
compositional unity. Students render their texture projects in a professional manner with
19
media used in the field of design, including the computer. The final results are critiqued
by their classmates and by their instructor.
Traditional Media
Find six actual textures from the natural world and everyday mass-produced objects.
Compose these textures made from various materials, i.e., paper, sticks, cardboard,
screen, bark, tinfoil, plastic, etc., into geometric shapes with a variety of values and
colors.
With pencil or pen and ink, draw six different textures, three from nature and three from
industry. The emphasis should be on creating implied textures which are convincing to
the eye.
Create an example of visual texture with acrylic paint on canvas board or illustration
board. Experimentation with different techniques of paint application is encouraged.
Draw a pattern with black drawing ink on white illustration board which evokes a
strong sense of touch. Both the repetition and variation of the pattern should be included
to provide textural contrast.
Electronic Media
Locate six to ten actual textures from the natural world and mass-produced objects used
in our daily lives. Photograph and/or scan these textures with computer software such as
Adobe Photoshop. Compose these textures made from paper, sticks, cardboard, screen,
bark, tinfoil, plastic, etc., into geometric shapes with a variety of values and colors.
Using a drawing program such as Adobe Illustrator, draw six different textures, three
from natural objects and three from industry. These implied textures should be
convincing to the eye in terms of their source and in terms of evoking a sense of touch.
Select and draw textures to create a specific mood. The Eye of Silence by Max Ernst
found in the text is a good example of texture used to express a "weird, frightening
atmosphere". Adobe Illustrator or Adobe Photoshop can be used to create a mood
utilizing textures that are scanned or drawn, then composed electronically. Textural
qualities can also be enhanced in these programs by using their "filters" and "patterns"
functions.
Build a pattern, utilizing the drawing tools in Adobe Illustrator, which evokes a strong
sense of touch. The emphasis should be on value contrast and repetitious lines and
shapes.
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Project:
Goal: To design a collage utilizing objects found in the immediate surroundings of the
individual student. The element of texture must be emphasized in this collage.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration, bristol, or masonite board approximately 12"x15".
Paper, wood, metal, plastic, etc—objects found in the immediate environment or
household.
Elmers or some other brand of all-purpose glue.
Variety of acrylic paints, brushes, and mediums.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could use traditional media (found objects, materials) for most textures and
utilize Photoshop to create unusual surface textures with the "filters" function.
Guidelines:
At least three actual textures found on objects or materials in the natural environment or
in industry must be glued to the background board (12"x15").
At least three implied textures must be drawn from objects found in nature, e.g., bark,
rocks, feathers, hair, fur, etc. Various drawing techniques are encouraged.
There should be an attempt to create a balance of textures by utilizing the principles of
contrast and repetition.
Develop a focal point in the textural composition with contrast, placement, or isolation.
Develop a hierarchy of "readability" where the eye goes first to the focal point and then
expands outward, in a spiraling fashion, to other areas of the composition.
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Chapter 10. Illusion of space
Assignment 1. Read the text of Chapter 10 and do the following:
1. List and define the different methods for creating the illusion of space.
2. Demonstrate one-point, two-point and multipoint perspective.
3. Define the difference between open and closed form.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary
below).
1. What is the easiest method for creating the illusion of depth? Give an example of how
you might use it.
2. Describe how to use relative size to show depth.
Glossary
Aerial perspective
The perception of less distinct contours and value contrasts as
forms recede into the background. Colors appear to be washed out in the distance or
take on the color of the atmosphere.
Amplified perspective
A dynamic and dramatic illusionistic effect created when
an object is pointed directly at the viewer.
Closed form The placement of objects by which a composition keeps the viewer’s
attention within the picture.
Equivocal space
An ambiguous space in which it is hard to distinguish the
foreground from the background. Your perception seems to alternate from one to the
other.
Hieratic scale A composition in which the size of figures is determined by their
thematic importance.
Horizon line The farthest point we can see where the delineation between the sky and
ground becomes distinct. The line on the picture plane that indicates the extent of
illusionistic space and on which are located the vanishing points.
Isometric projection A spatial illusion that occurs when lines receding on the diagonal
remain parallel instead of converging toward a common vanishing point. Used
commonly in Oriental and Far Eastern art.
Juxtaposition When one image or shape is placed next to or in comparison to another
image or shape.
Linear perspective
A spatial system used in two-dimensional artworks to create the
illusion of space. It is based on the perception that if parallel lines are extended to the
22
horizon line, they appear to converge and meet at a common point, called the vanishing
point.
Multipoint perspective
A system of spatial illusion with different vanishing
points for different sets of parallel lines.
One-point perspective
A system of spatial illusion in two-dimensional art based
on the convergence of parallel lines to a common vanishing point usually on the
horizon.
Open form
The placement of elements in a composition so that they are cut off by
the boundary of the design. This implies that the picture is a partial view of a larger
scene.
Overlapping A device for creating an illusion of depth in which some shapes are in
front of and partially hide or obscure others.
Picture plane The two-dimensional surface on which shapes are organized into a
composition.
Translucent A situation in which objects, forms, or planes transmit and diffuse light
but have a degree of opacity that does not allow clear visibility through the form.
Vanishing point
In linear perspective, the point at which parallel lines appear to
converge on the horizon line. Depending on the view there may be more than one
vanishing point.
Vertical location
A spatial device in which elevation on the page or format
indicates a recession into depth. The higher an object, the farther back it is assumed to
be.
Assignment 3. Do the tutorial quiz
1. The frontal plane of the painting is called the … .
2. When the artist uses objects that are larger in size to represent things that are closer to
the foreground and objects that are smaller to represent things further away, this is to
create the … .
3. The easiest method for creating the illusion of depth is … .
4. In the past, painters used what to show importance of a character such as the king or
Jesus?
5. When you can see the complete object it is considered in front. When there is the
illusion of depth on a 2-D surface and spatial recession, the technique is called … .
6. The technique of
was widely used in the Near East and Oriental art to depict the
distance of an object from the foreground.
23
7. When two forms overlap, and yet both can be seen clearly it is called .
8. … creates “Purposeful ambiguity”; it is not clear what object is in front or behind or
which objects overlap.
9. Equivocal Space creates what is called a … an example of an artist who used this
technique is Rene Magritte.
10. The use of color or value to show depth is called … .
11. As parallel lines recede, they appear to converge and to meet on an imaginary line
called the horizon. This is referred to as … perspective.
12. Parallel lines come together at the same place in infinity called the … .
13. … uses more than two vanishing points.
14. … is like foreshortening. The object closest to the camera or artist is very large and
rest of the figure or scene is small in the background.
15. When several different views are combines in one image it is called … perspective.
16. When parallel lines remain parallel and do not recede to a vanishing point it is
referred to as … .
17. … form is the concept of "enclosure", a complete or partial view of a scene.
18. … is a border around the perimeter that visually turns the eye inward.
19. Name the term for when an object either breaks out of the frame or pulls the
viewer's eye off.
20. When the picture and the object lead the viewer's eye back into the picture it is
called … .
21. True or False: Thing that are closer are larger; as they move further away they get
smaller.
a. True
b. False
22. True or False: When using the technique referred to as vertical location, objects
lower in the picture frame are considered "closer."
a. True
b. False
23. True or False: Vertical Location is based on the way we see things. We see things at
the ground level first, and then we look up.
a. True
b. False
24
24. True or False: The horizon line is always in the center of the composition.
a. True
b. False
25. True or False: Color or value becomes more emphasized as an object recedes.
a. True
b. False
26. True or False: Perspective can act as a unifying factor and add a dynamic quality.
a. True
b. False
27. There are 8 different devices to show depth. Which of the following is not one?
a. Overlapping
b. One Point Perspective
c. Three Point Perspective
d. Vertical Location
e. Two Point Perspective
28. Examples of artwork that is 3-dimensional include all of the following except:
a. Ceramics
b. Architecture
c. Jewelry
d. Weaving
e. Illustration
29. As objects become further and further away they do all of the following except:
a. Edges become sharper
b. Turn blue gray and fade
c. Contours become less distinct
d. Become smaller in size
30. According to the author, which is more natural?
a. Amplified Perspective
b. Two Point Perspective
c. One Point perspective
d. Multipoint Perspective
31. Which type of perspective can create a disorienting or anxious feeling in the viewer?
a. One Point perspective
b. Amplified Perspective
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c. Two Point Perspective
d. Multipoint Perspective
32. Which type of perspective gives a dramatic, dynamic quality?
a. Two Point Perspective
b. One Point perspective
c. Multipoint Perspective
d. Amplified Perspective
33. Which type of perspective quickly pulls the viewer into the picture?
a. Multipoint Perspective
b. Two Point Perspective
c. Amplified Perspective
d. One Point perspective
34. Which type of form creates a casual, momentary feeling?
a. Closed Form
b. Open Form
35. Which type of form creates a formal, structured appearance?
a. Open Form
b. Closed Form
Class project
Visual Problems in Illusion of Space
Introduction:
"In two-dimensional art forms, such as drawings, paintings, and prints, the artist often
wants to convey a feeling of space or depth. Here space is an illusion, for the images
rendered on paper, canvas, or boards are essentially flat." — Design Basics, Chapter 10
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in creating the illusion of space. Four individual exercises require
students to explore various devices which can be used to show depth: size, exaggerated
size, overlapping, vertical location, aerial perspective, linear perspective, and multiple
perspective. Students will also practice different ways of creating open and closed form.
One project encourages students to compose various types of perspectives to create the
illusion of deep space. Students render their illusion of space projects in a professional
manner with media used in the field of design, including the computer. The final results
are critiqued by their classmates and by their instructor.
26
Traditional Media
Using sketching or tracing paper, draw a composition in which there is an illusion of
space created with the devices of size, exaggerated size, and overlapping. The shapes
can either be naturalistic or abstract.
Using sketching paper and drawing pencils, draw a composition showing depth through
the device of aerial or atmospheric perspective. It is suggested that a simple landscape
design be rendered for this exercise.
Using sketching paper and drawing pencils, draw a composition showing depth with
one-point, two-point, or multi-point perspective. It is suggested that a view of a city
with several buildings be the subject of this exercise.
Design a composition in which the concept of multiple perspectives is emphasized.
Electronic Media
Using Adobe Illustrator create an illusion of space with the device of size, exaggerated
size, and overlapping shapes. Make simple geometric shapes to show spatial depth in
this piece.
Using a drawing program such as Adobe Illustrator, design a composition in which
there is an illusion of atmospheric perspective. Landscape forms or shapes should be
designed so that there is stronger value contrast is in the foreground and minimal value
difference is located at the horizon line.
Using a drawing program such as Adobe Illustrator, create an illusion of depth in a
composition through the application of one-point, two-point, or multi-point linear
perspective. Use the tools found in Illustrator which are designed to create perspective
lines.
Using a drawing program such as Adobe Illustrator, design a composition utilizing the
device of multiple perspective. Here several different perspectives of different images
are included in a single composition, where they coexist in a unique form.
Project:
Goal: To create a design in which an illusion of space is created by employing at least
three devices that can be applied to show depth.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or bristol, board approximately 12"x15".
Black and white acrylic paint.
Two acrylic brushes, one chisel brush and one round brush.
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Tracing paper with which to draw/design the composition and to trace the image down
to the surface of the illustration board.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could use traditional media to develop design ideas and electronic media to
make the final rendering in subtle black and white gradations.
Guidelines:
An illusion of space should be created through the use of three different devices utilized
to show depth. For example, size, overlapping, and linear perspective could be applied
in the same composition to make the illusion of space of space on a two-dimensional
surface.
The design can be created with naturalistic, abstract, or nonobjective shapes.
The overall composition with an illusion of space should either have a sense of closed
or open form.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could use traditional media to develop design ideas and electronic media to
make the final rendering in subtle black and white gradations.
Guidelines:
An illusion of space should be created through the use of three different devices utilized
to show depth. For example, size, overlapping, and linear perspective could be applied
in the same composition to make the illusion of space of space on a two-dimensional
surface.
The design can be created with naturalistic, abstract, or nonobjective shapes.
The overall composition with an illusion of space should either have a sense of closed
or open form.
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Chapter 11. Illusion of Motion
Assignment 1.Read the text of Chapter 11 and do the following:
1. List and discuss the different methods for creating the illusion of motion.
2. Identify and give examples of kinetic artwork.
3. Define and discuss the occurrence of kinesthetic empathy.
Assignment 2.Oral Quiz. Express your views working in groups (see Glossary
below).
Western Civilization reads left to right. Oriental culture reads top to bottom. Explain
why this is important in design?
Glossary
Anticipated movement
The implication of movement on a static two-dimensional
surface caused by the viewer’s past experience with a similar situation.
Blurred outline
A visual device in which most details and the edges of a form are
lost in the rapidity of the implied movement.
Kinesthetic empathy A mental process in which the viewer consciously or
unconsciously recreates or feels an action or motion he or she only observes.
Kinetic
Artworks that actually move or have moving parts.
Lines of force Lines that show the pathway of movement and add strong visual
emphasis to a suggestion of motion.
Multiple image
A visual device used to suggest the movement that occurs when a
figure is shown in a sequence of slightly overlapping poses in which each successive
position suggests movement from the prior position.
Op Art
A static painting that gives the optical illusion of movement
Repeated figure
A compositional device in which a recognizable figure appears
within the same composition in different positions and situations so as to relate a
narrative to the viewer.
Assignment 3. Do the tutorial quiz
1. There are three ways to suggest motion. Which of the following is not one?
a. Gesture Drawing
b. Blurred Outline
c. Multiple Images
d. Figure Repeated
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2. The method of repeating a figure to suggest motion is all of the following except for:
a. Not used any more
b. Oldest Device
c.Widely used in Oriental and Western cultures
3. All of the following can imply motion except for:
a. Sketchy
b. Incomplete
c. Overlapping lines
d. Blurred edges
e. Crosshatching
4. True or False: Change and movement are basic characteristics of motion.
a. True
b. False
5. True or False: Everything moves, trees, the earth, us, but paintings are static and any
movement is an illusion.
a. True
b. False
6. True or False: Movement is not an important aspect of art.
a. True
b. False
7. True or False: Movement is caused by memory and past experience.
a. True
b. False
8. True or False: An example that uses a repeated figure to suggest motion is the comic
book.
a. True
b. False
9. True or False: Details and outlines are lost in fast movement, which is why the artist
can use a blurred outline to suggest motion.
a. True
b. False
10. True or False: Streamline uses short stunted lines to express motion.
a. True
b. False
11. Artwork that moves, such as mobiles and mechanized sculptures, is called … .
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12. … gives an optical illusion in a still image.
13. Using many curved lines to show pathways of movement is referred to as … .
14. The implication of movement on a static two-dimensional surface caused by the
viewer's past experience with a similar situation is called … movement.
15. Name a visual device in which most details and the edges of a form are lost in the
rapidity of the implied movement.
16. A compositional device in which a recognizable figure appears within the same
composition in different positions and situations so as to relate a narrative to the viewer
is called … .
Class project
Visual Problems in Illusion of Motion
Introduction:
"Our world is a world of movement. Almost every aspect of life involves constant
change. We humans cannot sit or stand motionless for more than a moment or so; even
in sleep we turn and change position. But if we could stop our body movements, the
world about us would still continue to change." — Design Basics, Chapter 11
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in creating illusion of motion. Four individual exercises require
students to focus on specific ways of creating this illusion: anticipated motion, figure
repeated, figure cropped, blurred outlines, and multiple images. One culminating project
encourages students to synthesize various methods visually suggesting motion. Students
render their illusion of motion projects in a professional manner with media used in the
field of design, including the computer. The final results are critiqued by their
classmates and by their instructor.
Traditional Media
Draw an image, usually recognizable, from a photograph or memory which represents
anticipated motion. An attempt to have certain elements in the picture fixed to the edge
of the composition while others exist in open space is encouraged. The imagery can be
sketched on a regular drawing paper, approximately 9"x12". Then "tracing" is placed
over the image to do the finished rendering. Rendering is done with markers to facilitate
a quick result. It is possible to use any one of a variety of papers which accept marker
inks, i.e., layout, tracing, and marker. Each type of paper produces unique results.
31
Choose either the method of figure repeated or figure cropped to create an illusion of
motion. With figure repeated, a sequence of images and formats can be used to create an
illusion. In figure cropped, a close-up view in a dynamic pose with movement is
important. Again, markers and suitable "marker paper" are effective media for rendering
this exercise.
Draw an image, realistic or abstract, in which the technique of blurred outlines is used
to suggest motion. Once the imagery is sketched, a tracing paper, 9"x12", is placed over
it. The rendering is done with markers and rubbing alcohol with a queue tip to blur
outlines in marker renderings.
Using a sketching paper (9"x12"), draw a multiple image design which suggests motion.
Multiple images which start at one point and progress to another is one good way to
achieve the desired effect. Markers on tracing, layout, or marker paper are
recommended surfaces on which to do this exercise.
Electronic Media
Choose a color photograph which exhibits anticipated movement and scan it into the
computer with Photoshop. Next, design a composition utilizing the scanned photograph
which emphasizes this way of suggesting motion. It is possible to crop, re-compose, or
add elements to make it work most effectively. Print the results and compare with other
student work.
Design two or three figures which can be repeated by using the "copy" function in
Photoshop. By "pasting" figures repeatedly into an effective sequence, one can develop
a strong suggestion of motion. Results should be printed and compared to other student
examples.
Draw an image, realistic or abstract, which can be manipulated in Photoshop. It can be
drawn on traditional paper and scanned into the software or it can be drawn directly into
Photoshop. In any case, the assignment is to blur the edges of the image to create
"blurred outlines" effect. This can be done most easily with the "blur" tool in
Photoshop.
Draw multiple images in a design to suggest motions. Multiple images which start at
one point and progress to another is a good way to achieve the desired effect. Adobe
Illustrator is particularly useful here because the "gradient" tool can create a sequence of
figurative movements by identifying a starting and a finishing point.
32
Project:
Goal: To create the illusion of motion utilizing one or two of the ways of suggesting
motion outlined in the text.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Tracing, layout, or marker paper (approximately 9"x12").
Assortment of designer markers (or acrylic paint).
Rubbing alcohol.
Other marker solvents, papers, and materials to render the project.
Matte board to frame the composition.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could use traditional media in drawing original images and utilize Adobe
Illustrator to create multiple images for use in the project.
Guidelines:
A strong sense of suggested motion is to be created by using one or two of the four
ways of achieving illusion of motion (see "Application"). One may be the emphasis.
Compositional factors such as cropping the image, leaving open space following the
direction of the suggested motion, and balancing visual weight of various compositional
elements should be considered.
Project is to be rendered in acrylic paint on illustration board or electronic media.
33
Chapter 12. Value
Assignment 1. Read the text of Chapter 12 and do the following:
1. Define value and discuss its uses.
2. Discuss the difference between value and color and their various functions in design.
3. Define achromatic
4. Create and use crosshatching to create three-dimensionality in a drawing.
5. Define and identify instances of chiaroscuro.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary
below).
Discuss the development of the use of dots as a form of communication in today's
society. How and where they are used. Discuss some of the ways that dots were used in
previous art styles.
Glossary
Achromatic
Black, gray, or white with no distinctive hues.
Aerial perspective
The perception of less distinct contours and value contrasts as
forms recede into the background. Colors appear to be washed out in the distance or
take on the color of the atmosphere.
Chiaroscuro The use of light and dark values to imply depth and volume in a twodimensional work of art.
Chromatic
Relating to the hue or saturation of color.
Cross-hatching
A drawing technique in which a series of lines are layered over
each other to build up value and to suggest form and volume.
Mixed media The combination of two or more different media in a single work of art.
Shade A hue mixed with black.
Tone
A hue mixed with its complement.
Value A measure of relative lightness or darkness.
Value emphasis
When a light and dark contrast is used to create a focal point
within a composition.
Value pattern
The arrangement and amount of variation in light and dark values
independent of any colors used.
Wash Drawing
shades of gray.
where dark ink or watercolor are mixed with water to produce
34
Assignment 3. Do the tutorial quiz
1. True or False: Form reveals light.
a. True
b. False
2. True or False: The average human eye can see 40 different values.
a. True
b. False
3. True or False: Value pattern is often used in reference to paintings.
a. True
b. False
4. True or False: You can use value patterns to create an emotional response.
a. True
b. False
5. True or False: Pictures using closely related values are calm, quiet, and relaxing.
a. True
b. False
6. True or False: Pictures that use an extreme range of value suggest drama, excitement,
and conflict.
a. True
b. False
7. True or False: Overall darkness creates a feeling of sadness, depression, and mystery.
a. True
b. False
8. True or False: Strong light and dark contrast do not create a focal point.
a. True
b. False
9. True or False: A starting point can create a visual emphasis.
a. True
b. False
10. True or False: One can emphasize a thematically important character or feature by
value contrast.
a. True
b. False
35
11. True or False: 3-dimensional form can be suggested by value difference or shading.
a. True
b. False
12. True or False: High-value contrast seems to recede.
a. True
b. False
13. True or False: Low-value contrast seems to recede, suggesting distance.
a. True
b. False
14. True or False: With Aerial Perspective or Atmospheric Perspective, things in the
distance become grayer and less distinct as distance increases.
a. True
b. False
15. True or False: Cross-hatching must be done with very straight precise lines. It
cannot be done with very loose gesture lines.
a. True
b. False
16. True or False: When a work of art's range of values is all light colors it is referred to
as High Key.
a. True
b. False
17. True or False: When a work of art's range of values are all dark colors it is referred
to as Low Key.
a. True
b. False
18. True or False: Often it is not the choice of what color to use that is important, it is
what value of color you use.
a. True
b. False
19. True or False: Every color is at the same time also a particular value.
a. True
b. False
20. True or False: Every value is at the same time also a particular color.
a. True
b. False
36
21. … are grays that contain no color, just black and white.
22. … is the relationship between areas of dark and light.
23. … are neutral grays.
24. … is the arrangement and amount of variation in light and dark.
25. … can be created by the use of gradations of light and dark.
26. … was created during the Renaissance and is a term used to describe the use of light
and dark to imply depth and volume in a painting.
27. … is a set of lines that run horizontally and vertical lines that cross these.
28. … is where dark ink or watercolor are mixed with water to produce shades of gray.
29. The use of … to create shading was used by Georges Seurat and by modern printers.
It is also sometimes referred to as called pointillism.
30. The combination of two or more different media in a single work of art is called … .
31. A hue mixed with its complement to create gray is referred to as a … .
Class Project
Visual Problems in Value
Introduction:
“Value is simply the artistic term for light and dark. An area’s value is its relative
lightness or darkness in a given context. Only through changes of light and dark can we
perceive anything”.
— Design Basics, Chapter 12
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in creating lights and darks--value. Four individual exercises
require students to explore the relationships between light and dark as well as the
relationship between value and color. One culminating project encourages students to
synthesize various important concepts of value such as emphasis and space. Students
render their value projects in a professional manner with media used in the field of
design, including the computer. The final results are critiqued by their classmates and
by their instructor.
Traditional Media
Using regular sketching paper make an eight-step value scale from dark to light. Each
value step should be one inch square. Various drawing pencils may be used, i.e., a 2B or
4B pencil creates a dark value, whereas a 2H or 4H pencil creates a light value.
Using a Master Card-type design (see diagram), render as many black and white
37
(positive or negative) options as possible. You cannot change the design of a rectangle
with two overlapping circles. You must fill in shapes with black and leave the
remaining area(s) white with each attempt. There are sixteen variations.
Begin with a rectangle of either a vertical or horizontal proportion. Next, draw into the
rectangle six straight horizontal or vertical lines. The lines may overlap or not
depending on the individual design. No two areas in the composition can be the same
size. Now render the rectangular shapes in white, black, and middle values. Using
pencils make even applications of these values.
Start with the same rectangular design with lines similar to exercise 3. This time make a
dark, middle, and light valued design, but with the concept of "key". Key refers to the
overall lightness or darkness of a composition. Either render these three values in "high
key" or in "low key". Special note: The three values will be closer together than was the
case in exercise 3; but you must still establish a dark value and a light value with a
"mid-way" value in between these two values.
Electronic Media
Using Adobe Illustrator or Adobe Photoshop, make a ten to twelve step value scale
from dark to light. Each value step should be one inch square. Print out scales to see
how well the values hold their distinctiveness in print. Compare the results with their
appearance on the monitor.
Using Adobe Illustrator or Adobe Photoshop, create as many black and white designs as
possible utilizing a Master Card composition as shown in "Traditional Media, number 2.
You cannot change the design of a rectangle with two equal overlapping circles. You
must fill in shapes with black and leave the remaining area white with each try. Note:
draw one design and copy it each time to create a possible black and white design.
There are sixteen possible variations.
Start with a rectangle of either a vertical or horizontal proportion. Using Adobe
Illustrator or Photoshop draw into the rectangles either horizontal or vertical. The
rectangles may overlap or stand alone. No two areas of the composition can be the same
size or proportion. Next, render the resultant shapes in white, black and middle values.
Print the results.
Begin with the same rectangular design made for exercise 3. This time create the same
design, with dark, middle, and light values, but with the concept of "key". Render this
design either in "low key" or "high key". Special note: The three values will be closer
together than was the case in exercise 3; but a dark value and alight value with a midway value between the two must be established.
38
Project:
Goal: To create a vertical or horizontal landscape design in which atmospheric
perspective creates an illusion of depth.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or bristol board approximately 12"x15".
Black drawing ink and white opaque water-based paint.
Two watercolor sable brushes, one chisel and one rounded.
Drawing pencils and tracing paper
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could use traditional media in drawing original images and utilize Adobe
Illustrator to create multiple horizontal planes for use in the project.
Guidelines:
An illusion of depth must be created through the principle of strong value contrasts in
the foreground and subtle value contrasts in the background.
Overlapping horizontal planes in various gradations of sizes, from large in the
foreground to small in the background, can be used to create the overall pattern of
perspective.
A focal point created through the principle of value contrast should be created in the
foreground of the landscape design.
A wide range of "key", or values, should be used in the landscape composition.
39
Chapter 13. Colour
Assignment 1. Read the text of Chapter 13 and do the following:
1. Identify and list primary, secondary, and tertiary colours.
2. Define hue, intensity, and saturation and be able to accurately use these words in
relation to design concepts.
3. List complimentary colours and understand the effect they have on each other when
in close proximity.
4. Define and provide examples of monochromatic, triadic and analogous colour
schemes.
5. List and discuss the emotional responses to warm and cool colours.
6. Understand how to tint and shade a hue.
Assignment 2. Oral Quiz. Express your views working in groups (see Glossary
below).
1. Give an example of local colour. Why is it considered local?
2. List the 5 Basic Colour Schemes or colour harmonies and briefly describe them.
Glossary
Additive system
A colour mixing system in which combinations of different
wavelengths of light create visual sensations of colour.
Afterimage
Occurs after staring at an area of intense color for a certain amount of
time and then quickly glancing away toward a white surface where the complementary
colour seems to appear.
Analogous colors
A colour scheme that combines several hues located next to each
other on the color wheel.
Chroma
See Intensity.
Colour constancy
A psychological compensation for changes in light when
observing a colour. A viewer interprets the colour to be the same under various light
conditions.
Colour discord
A perception of dissonance in a colour relationship.
Colour harmony
Any one of a number of color relationships based on groupings
within the colour wheel (see Analogous Colours, Colour Triad, and Complementary).
Colour symbolism
Employing colour to signify human character traits or concepts.
Colour triad Three colours equidistant on the colour wheel.
Colour wheel An arrangement of colours based on the sequence of hues in the visible
spectrum.
40
Complementary
A colour scheme incorporating opposite hues on the colour
wheel. Complementary colours accentuate each other in juxtaposition and neutralize
each other in mixture.
Composition The overall arrangement and organization of visual elements on the twodimensional surface.
Constancy effect
An aspect of human perception that allows us to see size, or
colour, or form as consistent even if circumstances change appearances.
Cool color
A colour closer to blue on the colour wheel.
Emotional color
A subjective approach to colour usage to elicit an emotional
response in the viewer.
Hue
A property of colour defined by distinctions within the visual spectrum or colour
wheel. Red, blue, yellow, and green are examples of hue names.
Intensity
The saturation of hue perceived in a colour.
Local color
The identifying colour perceived in ordinary daylight.
Monochromatic
A colour scheme using only one hue with varying degrees of
value or intensity.
Opaque
A surface impenetrable by light.
Optical mixture
Colour mixture created in the eye as small bits of colour are
perceived to blend and form a mixture.
Pointillism
A system of colour mixing (used in painting and drawing) based on the
juxtaposition of small bits of pure colour. Also called divisionism. (see also optical
mixture)
Primary colors
The three colours from which all other colours can theoretically
be mixed. The primaries of pigments are traditionally presented as red, yellow, and
blue, while the primaries of light are red, blue, and green.
Saturation
See Intensity.
Secondary color
A mixture of any two primary colours.
Simultaneous contrast
The effect created by two complementary colours seen in
juxtaposition. Each colour seems more intense in this context.
Spectrum
The range of visible colour created when white light is passed through a
prism.
Subtractive system
A colour mixing system in which pigment (physical substance) is
combined to create visual sensations of colour. Wavelengths of light absorbed by the
substance are subtracted, and the reflected wavelengths constitute the perceived colour.
Tertiary
A mixture of a primary and an adjacent secondary colour.
41
Tint
A hue mixed with white.
Tonality
A single colour or hue that dominates the entire colour structure despite
the presence of other colours.
Tone
A hue mixed with its complement.
Transparency
A situation in which an object or form allows light to pass
through it. In two-dimensional art, two forms overlap, but they are both seen in their
entirety.
Triadic
A colour scheme involving three equally spaced colours on the colour
wheel.
Vibrating colors
Colours that create a flickering effect at their border. This effect
is usually dependent on an equal value relationship and strong hue contrast.
Visual color mixing The optical mixture of small units of colour so that the eye
perceives the mixture rather than the individual component colours.
Warm color A colour that appears to be closer to the yellow-to-red side of the colour
wheel.
Assignment 3. Do the tutorial quiz
1. … is a property of light.
2. Real life color or color that is created from light is referred to as … .
3. Creating color from pigments is referred to as … .
4. … are mixtures of primary colors.
5. … are a mixture of a primary and an adjacent (next to) secondary color.
6. … are directly opposite on the color wheel.
7. … When you mix complimentary colors and you get gray, what is this effect called?
8. … is when our mind insists that grass is green, despite contradictory visual evidence.
9. … is the brightness of a color.
10. Another term for chroma or saturation is … .
11. What is the term for the general name of a color?
12. What term is used to refer to the lightness or darkness of a hue?
13. Adding white to a hue is referred to as a … .
14. Adding black to a hue is referred to as a … .
15. When two complimentary colors are placed next to each other they increase each
other's visual brilliance. This is called … .
16. When an artist attempts to create a color by placing two pure colors next to each
other rather then mixing them on a board it is called … .
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17. What group of artists has investigated and expanded our ideas of color more than
any other?
18. When you use different objects of different colors and different sizes on either side
of the center axis it is referred to as … .
19. The use of only one hue, plus shades and tints is called … .
20. Several hues that sit next to each other on color wheel are called …colors.
21. Opposite colors on color wheel are called … colors.
22. Using the two colors on either side of the compliment is called a …compliment.
23. Three hues equal-distant on the color wheel are called .
24. Tonality is also referred to as … .
25. … refers to the dominance of a single color or the visual importance of a hue that
seems to pervade the whole color structure despite the presence of the other colors.
26. The opposite of color harmony is referred to as … .
27. To imply distance, what color should you fade your object towards?
28. … is the intensification and exaggeration of the color that the artist may have seen.
29. Red + Yellow =
30. Blue + Yellow =
31. Red + Blue =
32. True or False: Some examples of visual mixing are Post-Impressionist era Seurat
and Van Gogh, pointillism, and divisionism.
a. True
b. False
33. True or False: Modern day printing is an example of visual mixing.
a. True
b. False
34. True or False: Any color can be mixed from the three primary colors.
a. True
b. False
35. True or False: There are relatively few hues, but unlimited colors.
a. True
b. False
36. True or False: Most people cannot distinguish more then 10 tints and shades of a
color.
a. True
b. False
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37. True or False: Most people can distinguish at least 40 tints and shades of a color.
a. True
b. False
38. True or False: Our perception of colors changes according to their surroundings.
a. True
b. False
39. True or False: To create visual balance, the objects must have equal weight, interest,
appeal, or attraction.
a. True
b. False
40. True or False: Color is often used to create balance.
a. True
b. False
41. True or False: Dust in the earth's atmosphere breaks up objects' color rays and
makes appear bluish.
a. True
b. False
42. True or False: Warm colors can convey the emotions melancholy, depression
a. True
b. False
43. True or False: Cool colors can convey the emotions warm, happy, cheerful
a. True
b. False
44. True or False: Color symbolism does not vary between cultures.
a. True
b. False
45. True or False: Color can represent a concept or idea like sin, greed or cowardice.
a. True
b. False
46. True or False: Warm colors recede.
a. True
b. False
47. True or False: When you use local color in a painting you are depicting color as
seen in daylight or what we 'know' the color to be.
a. True
44
b. False
48. True or False: Pure arbitrary color is often seen in 20th century painting.
a. True
b. False
49. True or False: Optical Color depends on illumination or what an object looks like
under moonlight, candlelight, etc...
a. True
b. False
50. True or False: Arbitrary color is based on reality; colors are not subjective.
a. True
b. False
51. The 3 Primary Colors are:
a. Purple, Green, Orange
b. Red, Blue, Yellow
c. Purple, Red, Orange
52. The 3 secondary colors are:
a. Orange, Green, Purple
b. Red, Blue, Yellow
c. Yellow, Green, Blue
53. The following are all tertiary colors except for which one:
a. Red-purple
b. Lavender
c. Blue-green
d. Yellow-Orange
54. The 3 complimentary color pairs include all of the following except:
a. Blue & Orange
b. Red & Orange
c. Red & Green
d. Yellow & Purple
55. Which of the following is not a way to lower the intensity of a color?
a. Mix with compliment
b. Mix with black
c. Mix with gray
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56. Three examples of warm colors are:
a. Red, Purple, Green
b. Red, Orange, Yellow
c. Blue, Green, Purple
57. Two examples of cool colors are:
a. Black and White
b. Red and Yellow
c. Blue and Green
58. All of the following reasons are listed in your book as to why an artist may choose
to use Arbitrary Color. Which one is not a reason?
a. Design reasons
b. For realism
c. Or emotional reaction
d. Aesthetics
Class project
Visual Problems in Colour
Introduction:
“The essential fact of color theory is that color is a property of light, not an object
itself…Objects have no color of their own but merely the ability to reflect certain rays
of white light, which contain all the colors. Blue objects absorb all the rays except the
blue ones, and these are reflected to our eyes. Black objects absorb all the rays; white
objects reflect all of them. The significance of this fact for the artist is that as light
changes, color will change.”
— Design Basics, Chapter 13
Application:
The following exercises and project are designed to give the student both short-term and
long-term experiences in working with reflective color. Four individual exercises
require students to learn how to mix and apply basic colors according to their
properties: hue, value, and intensity. One project encourages students to synthesize
various color concepts into a complex color organization. Students render their color
designs utilizing acrylic paints as well as computer software. Finished projects are
critiqued by both class members and the instructor.
46
Traditional Media
Using acrylic paint and a bristol or illustration board surface, create a twelve-hue color
wheel from the three primary colors: red, yellow and blue.
Create a ten-step value chart utilizing one of the secondary hues (orange, violet, green)
from the color wheel. Make each step one inch square and sequence them from dark at
the bottom to almost white at the top. It is important to create an even gradation or
change from one value to the next. Acrylic or opaque watercolor paint work best for this
exercise.
Starting with one of the secondary hues (green, orange, or violet), make a warm/cool
chart. Put a secondary hue in the center of a five-squares chart, make the squares on the
left progress towards cool and the ones on the right progress towards warm. Do this by
adding blue for coolness and red or yellow for warmness. As in the above exercises,
create "even" gradations.
Create a simultaneous contrast comparison with acrylic or opaque watercolor paint.
First, paint two backgrounds, each three inches square. Make sure their values are
exactly the same. Second, mix a grey hue which is precisely the same value as the
complementary background colors. Paint a grey square, approximately one and one-half
inches, in the center of each background. Discuss the optical effects with class members
and the instructor.
Electronic Media
Using an electronic software program such as Adobe Illustrator, create a twelve-hue
color wheel, simulating paint. For students interested in stage lighting or related media,
try making an additive mixture color wheel starting with the primaries of red, blue, and
green.
Using Adobe Illustrator or a similar program, design a value chart utilizing one of the
secondary hues (orange, violet, green) from the color wheel. It is necessary to make the
optical changes equal from one square to the next. Once the gradation looks good on the
monitor, print the results. If the printed version does not reflect "even" gradations, make
the necessary adjustments and print again.
Create a warm/cool color chart as described above using an electronic software such as
Adobe Illustrator. Once the monitor image looks right, make a color print, assess its
success relative to the exercise requirements, and then adjust as necessary for the final
print.
Using Adobe Illustrator or a similar computer software, create the simultaneous contrast
demonstration. First, create two backgrounds, each three inches square. Make sure their
47
values are exactly the same. Paint a grey square, approximately one and one-half inches,
in the center of each background. Discuss the optical effects with class members and the
instructor. Make a color print and discuss the resultant color effects with class members
and the instructor.
Project:
Goal: To render three different color schemes in a single composition with design and
color unity.
Materials:
A. Traditional design media that will be employed in the execution of this project.
Illustration or bristol board—three squares at 8" or 10" ea.
Acrylic paint and mediums, i.e., matte, glossy, gel, etc.
Acrylic brushes and pallet.
Tracing paper for refining and tracing image down to rendering surface.
B. Electronic design software such as: Adobe Illustrator or Adobe Photoshop. Project
can be designed and rendered either with traditional media or electronic (computer)
software. It is also possible to mix traditional and electronic media. For example, a
student could work out the design on the computer, and then paint it onto illustration
board. Also, it would be possible to scan in a design drawn by hand and "color it" in
Adobe Photoshop or a similar design software.
Guidelines:
Three squares of illustration board can be creatively arranged or designed to make a
vital design unit.
The three colour schemes to be used are analogous, complementary, and triadic, one for
each square.
An overall design should unify imagery in the three squares.
Colour schemes must also be unified as one colour organization: use similar values in
all three squares; add a single color to all colors in all colour schemes, creating the
effect of a dominant hue; or use similar chromatic ranges in all three colour schemes.
Учебно-методическое издание
ПАВЛОВА НАТАЛЬЯ АЛЕКСАНДРОВНА
УПРАЖНЕНИЯ И КОНТРОЛЬНЫЕ ЗАДАНИЯ
К УЧЕБНИКУ DESIGN BASICS (6TH EDITION)
ЧАСТЬ II. ЭЛЕМЕНТЫ ДИЗАЙНА
ДЛЯ СТУДЕНТОВ ШКОЛЫ “ДИЗАЙНА”,
ОБУЧАЮЩИХСЯ ПО МЕЖДУНАРОДНОЙ ПРОГРАММЕ
УНИВЕРСИТЕТА УЭЛЬСА
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