Design 1 - Powerpoint 1

Design 1 - Powerpoint 1

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  Launching the Imagination 5th Edition PARTOne: Two-Dimensional Design Chapter One: Basic Elements _ Langford 1
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  INTRODUCTION: BEGINNER’S MIND,OPEN MIND Design or Composition - To plan and/or combine multiple parts into a harmonious whole using Elements & Principles of Design. Elements of Design:  Line: 1. A point in motion; 2. A series of adjacent points; 3. A connection between points; 4. An implied connection between points.  Shape: 1. A flat, enclosed area created by connecting lines, or surrounding an area by other shapes. 2. Implied through boundaries defined by color, texture, value, or directional variations.  Texture: surface quality (exists in all art).  Value: the relative lightness or darkness reflected from a surface (context).  Color: covered in Chapter 2. Visual Communication requires the mastery of words, imagery & technology. A good idea does not lead to a good design, without mastery of Elements & Principles of Design, and technical skills training. 2
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  INTRODUCTION: BEGINNER’S MIND,OPEN MIND Design or Composition - To plan and/or combine multiple parts into a harmonious whole using Elements & Principles of Design. Design Fundamentals:  Visual Communication is fundamental  Concept + Composition + Communication  Critical Judgment Supports Creative Thinking Putting It All Together: The foundation for all visual arts courses. 3 Suggested visual: Figure 1.58. The advantage for college beginners is entering with an open mind and a desire to learn. Design creates a bridge between artistic intention & compositional conclusion. A good design requires a large range of solutions. Sketch, sketch, “hit the wall,” then sketch more. Visual Communication requires the mastery of words, imagery & technology. Concept: a well-developed thought. Concept development is covered in part 2. Brainstorming helps students move beyond predictable solutions (Chapter 5). A good idea does not lead to a good design without mastery of Elements & Principles of Design and technical skills training.
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  Part One: Two-DimensionalDesign Chapter One: Basic Elements Line: 1. A point in motion; 2. A series of adjacent points; 3. A connection between points; 4. An implied connection between points. 4 Line Quality: Orientation, Direction, Continuity, Media Suggested visual: Figure 1.7. The building blocks for two-dimensional design are: Line, Shape, Texture, Value, and Color. As simple as line may seem, it can convey entire concepts when used effectively. Expressive lines depend on line quality, which is determined by its Orientation: diagonal (the most dynamic), horizontal (the most stable or static), or vertical (potential change, static or dynamic). Direction: the implied movement of a line (swelling suggests forward or outward movement, shrinking suggests inward movement). Continuity: linear flow (continuous line generates stronger sense of direction than a broken or jagged line). Media: each material produces its own range of distinctive lines types, line thickness, continuity and darkness.
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  Line 5 Actual Lines: Contour (interiorand exterior edges) Gesture drawing (action and posture) Volume summary (basic forms) Calligraphic (“beautiful writing,” movement) Organizational (skeleton or framework) Suggested visuals: Figures 1.11, 1.12, 1.13, & 1.14. Contour: describes both inner & outer edges Volume summary: describes form geometrically Gesture: implies posture & orientation or movement of artist’s arm Calligraphic: “beautiful writing” that uses variety & movement for personal expression
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  Implied Lines: suggestedthrough inclination for closure. Line Networks: Hatching (straight parallel lines for range of grays) Cross-hatching (wider range) Cross contours (curving parallel lines) Suggested visual: Figure 1.19A-B. Suggested visual: Figure 1.22. e 6 Line Implied LINE: 1. Suggested by eye movement or gesture, or 2. Position of shapes or objects to create closure or connection Our natural inclination to connect fragmentary information is called closure. Figure 1.13 is an example of a “lost and found” composition. This effect is more pronounced in Caravaggio’s work (Figure 1.14A-B). Line networks add detail and a convincing illusion of space. Cross contours (map) surface variations. Line can be used to define, enclose, connect or dissect. Lines can serve many purposes at once and communicate complex information in advertising or map design. Careful use of the four edges of a sheet of paper can strengthen any design. Lines add structure, movement, and cohesion.
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  Defining Shape 7 Suggested visual: Figures1.31 Shape: 1. A flat, enclosed area created by connecting lines, or surrounding an area by other shapes. 2. Implied through boundaries defined by color, texture, value, or directional variations. Form: (volume) Actual or implied three-dimensional shapes. Here we see flat shapes and implied forms. Students should be aware of form, as implied form will be addressed in 2-D Design. Gradation, or shading, can be used to imply three dimensions, or volume. Compare the approaches taken by these two graphic designers, which are different, but equally effective.
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  Types of Shapes 8 Formator picture plane is defined by: Positive shape (figure): the dominant or foreground shape(s) Negative shape (ground): the surrounding or receding shape(s) Figure/ground reversal: positive and negative shapes, alternate or interchange Suggested visuals: Figures 1.29, 1.32, & 1.36. The outer edge of a design can change the emotional impact on the viewer. Compare the expansive horizontal format used by Douglas with the narrow, claustrophobic format used by Klimt. Depending on the location of a positive shape relative to the ground, the figure can become dynamic or static. When the figure and ground are equally well designed, every square inch of the composition becomes highly charged. Escher created an interlocking mask where first the positive then the negative shapes command our attention.
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  Types of Shapes 9 Expressiveshapes communicate through: •Rectilinear and Curvilinear Shapes •Geometric and Organic Shapes Using shape to communicate Collage: visual fragments initially designed for another purpose, constructed for another purpose Suggested visual: Figure 1.39. Suggested visual: Figure 1.43. Types of shape: Rectilinear shapes (straight lines and angular corners), Curvilinear (curves and flowing edges), Geometric (crisp edges and mathematically consistent curves) and Organic (irregular or unpredictable shapes suggesting the natural world). Beardsley combined rectilinear and curvilinear shapes to create another interpretation of the Salome story. Using an internal boundary line, he emphasized the rectangular shape of the format. Curving black and white shapes create a complex composition. Definition of shape: High definition (hard edged): Strong contrast for clarity & emphasis. Low definition: Uses soft edges, gradations and transparency for mystery, complexity, and illusion of deep space. Definition is an inherent aspect of photography along with variations in focus, and fine or course grained film and paper.
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  Texture 10 Texture definitions: surfacequality (exists in all art). Types of textures: Physical (Actual, Local, or Tactile): can be felt. Visual (Implied, Illusory, Trompe l’oeil): descriptive simulation. Interpretive or Invented: symbolizes or depicts the essence as opposed to imitating. The marks an artist makes create texture (line quality), as does the individual media and support services. Physical, Actual, Local or Tactile: can be felt (i.e. collage, photomontage, impasto). Visual, Implied, Illusory (trompe l’oeil): The imitation of local texture using pattern and value or a descriptive simulation. Interpretive or Invented: symbolizes or depicts the essence as opposed to imitating perceptual reality. Suggested visual: Figure 1.45.
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  Texture and Space 11 Suggestedvisuals: Figures 1.49, 1.51, 1.57, & 1.58. Spatial Variations in size, density, orientation, and value. Linear perspective Atmospheric perspective Text and numbers Texture: repetition of lines, dots, or other shapes. Hatching, Cross-hatching, Cross-contour, Stippling, Typography. Hatching, cross-hatching, cross-contour, stippling and type can also be used to create texture. Density & Orientation of marks create the illusion of space. Patterns diminish in size and become blurred with distance (atmospheric perspective). Patterns follow the rules of linear perspective. Typography can be used as texture. Density & Orientation of marks create the illusion of space. As the values become darker, negative space decreases and reduces the readability. The artist is making a conceptual statement, also. Each material has a distinctive physical texture, and creates a distinctive visual texture, which must be conceptually unified. Each of these visuals represents a different concept.
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  Value 12 Suggested visuals: Figures 1.60& 1.61. The lightness or darkness of a shape is determined by its surroundings. The context in which an object is placed: consider the effects of a candle held outdoors and in a dark closet. Contrast: 1. Full range: using all values from the value scale (increases clarity & sense of depth) 2. High key: using white to middle gray in the value scale (upbeat atmosphere) 3. Low key: using black to middle gray in the value scale (somber atmosphere) 4. High contrast, Tenebrism: maximum use of value contrast, pushes forms farther apart in space (dramatic) Quality of value: (students will use continuous tone, graduated, hatching, cross-hatching, cross contour, stippling, or invented textures and patterns) Value: the relative lightness or darkness reflected from a surface (context). Value scale: a series of graduated values. Grisaille: an oil technique that begins with a gray underpainting. Contrast & value distribution: full range, high key, low key, high contrast.
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  Value and Volume 13 Suggestedvisuals: Figures 1.68 & 1.69. Chiaroscuro was perfected during the Renaissance to create “the window on the world” effect. Photorealism uses this technique to an extreme degree. When a full range of values is used, volume is implied. Film makers and set designers are especially aware of the expressive uses of value, and use a wide range of lights to influence our emotional response. Deborah Remington’s Capra suggests a light source, sense of volume, and illusion of space. Chiaroscuro: a full range of values that create form and volume (attached shadows and cast shadows) 1. Highlight 2. Light 3. Shadow 4. Core of shadow 5. Reflected light 6. Cast shadow Value and Lighting