Design Unit 2 - Dr. Diane Sparks PDF

Preview

Summary

Dr. Diane Sparks...

Description

Unit 2 - Principles of Design and Art Movements Balance The sense of evenly distributed weight, resulting in overall feeling of stability. Weight is perceived visually. An unbalanced page or screen creates a feeling of tension. Horizontal Balance Illustrated by a fulcrum and a lever. When weight and size are the same at both ends the balance is symmetrical - when weight and size are different at the ends, balance is asymmetrical. Nature provides limitless examples of horizontal balance and symmetry- eagle in flight, kangaroo hopping, butterfly wings. Symmetry Indicates a strict adherence to the elements on either side of a median line - Shape, size, line, value, texture, color, and arrangement Many approaches: - Repetition - Dominant centerpiece flanked by smaller parts on either side - Mirror image To see horizontal symmetry, draw a vertical line; to see vertical symmetry, draw a horizontal line. Approximate symmetry Dynamic Symmetry Asymmetry True antidote to the boredom of symmetry. Also called occult balance. Sometimes constitutes a fashion trend. Gives fashion designers the greatest latitude for artistic expression. Radial Balance The force that comes from a central pole so it has similar elements rotating about it. Symbolic of life within. Ex: starfish, mendala, decorated domes, fireworks Formal Balance AKA mirror image balance Objects may not be identical but they are similar in terms of number, color and other elements Demonstrated in such forms as fashion, architecture, art, and nature. Informal Balance

Still requires balanced visual weight, however the weight is distributed differently. More dynamic and exciting and it usually results in a more interesting design. Interesting and unusual shapes tend to attract attention. All elements are still balanced, but the balance can be distributed in terms of color, value, shape, position, texture and direction.

Modernism & Pop Art Modernism - Is a trend of thought which affirms the power of human beings to: - Make - Improve - Deconstruct - Reshape their built and designed environment - Is based on the use of: - Scientific Knowledge - Technology - Practical Experimentation - Is Progressive & Optimistic - Embraced disruption of traditional art forms and artists were recast as revolutionaries, overthrowing rather than enlightening - Color and shape formed the essential characteristics of art - Art was redefined as the arrangement of pure color Architecture Some of the first skyscrapers were designed. Modern design rejected decorative motifs to emphasize materials, pure geometric form and an austere absence of clutter. Walter Gropius Le Corbusier Zurich Mies van der Rohe Pop Art Art Nouveau, Art Deco, Surrealism, Cubism, and Abstract Expressionism all developed during the modernist time period and led to the Pop art movement. Characterized by themes and techniques drawn from popular mass culture. Subjects for Pop Art were sometimes taken from advertisements of everyday products or comic books. Aimed to employ images of popular, as opposed to elite, aspects of culture, emphasizing the banal or kitsch elements. Pop Artists Andy Warhol

-

American painter, filmmaker, commercial illustrator, writer and celebrity. Associated with the definition of pop art. Most successful painting the things he loved in daily life...campbell’s soup, coca cola, social icon personalities, animals Alexander Calder - Invented kinetic sculpture or mobiles - Produced many monumental sculptures for outdoor public settings Jasper Johns - His painting include images/objects from popular culture: flags, numbers, targets. - Many done in protest to the vietnam war - His treatment of the canvas surface is often lush and painterly, and he often used encaustic (wax based paint) and plaster molds in his paintings - Received the presidential medal of freedom award in 2011 Frank Stella

Roy Lichtenstein - Best known artworks feature close but not exact copies of comic book panels… which he described as being “as artificial as possible”

Emphasis Emphasis - The point to which our eye turns immediately when we walk into an art gallery, the point of initial eye contact - the focal point or point of emphasis - Purposefully selected and visually stressed - When an aspect of a piece of artwork catches our attention - The part of the work that makes it seem important or unique - The fashion designer’s talent is the ability to direct the viewer’s eye to the garment and then guide it throughout the entire design - Ex: clap of thunder, mountain peak, the roar of a waterfall in a deep forest Implementing Emphasis Isolation - A shape that stands by itself is bound to attract attention - Anomaly has an even greater capacity to draw attention - Isolating one motif from an all over pattern Contrast - Two forces operate in opposite, causing a significant difference Placement/Location Repetition - Something important is worth repeating - Repetition may be visualized in line, shape, or color Emphasis through: Size - The larger the component, the more interest it creates - This can be through volume, mass or bulk Color - Contrasting colors, especially complimentary colors, placed next to each other draw the attention of the eye Light and Shadow - Depends on the environment in which the design is viewed - Needs right kind of fabric and a light source Radiation - Use of a sun-like or wheel-shaped form draws the eye to its center - Concentricity Drama Line - Garments with bold diagonal or horizontal lines can guide the viewer's attention Elsa Schiaparelli

-

Conceived of dressmaking as an art Experimented with new fabrics and notions Famous for collaborations with the surrealist painter Salvador Dali and artist Jean Cocteau

Rhythm Rhythm moves the eye from the point of emphasis throughout the rest of the design. When the fashion designer implements rhythm, it moves the eye from the point of contact throughout the rest of the design Visual Rhythm Rhythm is a regular pulsation. Elements placed to establish balance often add to the rhythm of a composition. Metric Rhythm The simplest type of metric rhythm can be shown by a series of same size dots. Illustrates the regular repetition of a single beat similar to what you might hear when someone taps a pencil. Flowing Rhythm Ex: A highway interchange - designed to keep the rhythm of highway traffic flowing - Facilitates the rhythmic flow of people’s lives because it allows them to reach their destinations without stops. Ex: The flow of fabric in fashion Swirling Rhythm Return to the concept of radial balance - Swirl does not have to be circular but there is an implication of action revolving around a central core and of centrifugal force capable of considerable power. Visual Pathways - Variety in the viewing process. - From smooth, calm movements to jerky, and from brief to extended. Structural Expression - Construction elements are required in order to turn a flat piece of fabric into a three dimensional garment - Fabric type and pattern contribute to the garment’s rrhythm Methods to Create Rhythm: Repetition - Reinforces important design elements - Purpose is to move the eye throughout the entire design Progression - Also called gradation

- A sequencing of adjacent units that change in steps from one to the next Sequencing - One unit follows another in a particular order - Lends itself to the vertical or horizontal repetition of multicolored striping or embroidery Parallelism - Utilizes equidistant units on the same plane Alternation - Striping features a rhythmic device called alternation - Sequence of units that change back and forth The grid - Vertical and horizontal lines create tension that suggests stillness and formality - Vertical and horizontal color-blocked shapes can be used to create a grid-like formation Broken rhythm - Rhythm functions effectively even when broken - Interruption in pattern draws attention to the design Transition - Used when an element's change is so subtle that it is difficult to notice, but it nevertheless keeps the eye moving along the design Allover pattern - The automatically moves from motif to motif Radiation - In relation to rhythm, the eye moves outward along the radials from the center - Radiation in a garment is implemented through - Construction elements - Surface patterns - Seaming

Proportion Proportion has its roots in organic forms. Relevant with regard to sizes and arrangements of the parts of the human figure, and the clothing covering the figure. The history of the western dress is a great source for understanding proportion. Fashion designers often credit their successes to a mastery of proportion Organic Proportion DNA forms spirals that result from a fixed set of geometric proportions Ex: stairwell in new york Armani store Spirals are repeated in other forms of nature and architecture. Fibonacci Born in Italy in 12th century. Educated in Africa through travels.

Introduced the Fibonacci number series in his book “Liber Abaci” in a problem involving the growth of a population of rabbits. Spiral The logarithmic spiral also known as the growth spiral makes it possible for natural forms to grow without losing their basic proportions Scale Size proportions are often compared to human size In fashion, - scale is a consideration for - Silhouette - Motifs - Pattern - Accessories - Hem length Was quantified by galileo as the “square cube law” Proportion and Scale Proportion - refers to size relationships of parts within a whole. Scale - refers to size in relation to an accepted unit of measurement. Human scale - uses the human body as the unit of measurement The Golden Mean Euclid, who was a greek mathematician, stated the rule of the Golden Mean as a simple expression of the importance of proportion and balance. Often stated as “moderation in all things” Often used by artists, sculptors, and designers. **lectures on Surrealism and Post Modernism**

Unit and Variety Unity: the combining of various or similar elements which hold a design together aesthetically. - Unity through shape, line, texture, color, structure, repetition, etc. - Gives a sense of wholeness or completeness Partnership of Unity and Variety Unity is the most fundamental of the principles of design. If the final result does not hold together as a convincing sum of all its parts, it usually cannot be considered a successful design. The human race is a prime example of how unity and variety coexist - Variety: skin, location, age, gender - Unity: eat, sleep, meaningfulness

Gestalt Principles German word meaning “shape” or “form” Also known as the Law of Simplicity - our brains naturally reduce what we are looking at to the most simple, natural, unified relationship. Approaches to organize visual elements into unified wholes: - Similarity - Occurs when objects or shapes look similar - elements that share visual characteristics - Also called grouping - Repetition - Same visual effect occurs over and over - Repetition of any element has the potential for unity - Prosimity - Continuity or Continuation - Figure Ground - Perceptual tendency to separate whole figures from their backgrounds, based on such elements as color, contrast, value - Deliberate alteration of figure and ground so that the figure blends into the ground is called camouflage or ambiguity - Closure - Order - Visual elements are located, grouped, and sized according to relative importance Designing a Group of Fashions The group designed by members of haute couture is called a collection. Designers for mass fashion create a group referred to as a line. Unity Through Structure Sometimes unity is a result of basic or fundamental structure.

Variety: provides interest in a work through contrast and structure and by building variations on a theme - Artwork - Architecture - Fashion Achievement of Variety Can be attained through contrast in all the elements we’ve studied. Contrast is the main strategy. Variations on a theme are actually a matter of contrasting a single shape, color, or other

elements by altering it into interesting variations.

Abstract Expressionism American post-World War II art movement. It was the first specifically American movement to achieve worldwide influence. It put NYC at the center of the art world, a position formerly filled by Paris. Image of being rebellious, anarchic, and emotionally intense. Paintings in this movement were usually very large and required careful planning. The style attracted the attention of the CIA in the early 1950’s and saw Abstract Expressionism as a means of promoting the USA as a haven of free thought and free markets...to challenge the socialism and communism in Europe during the Cold War...so they financially promoted this art movement between 1950 and 1967. Mark Rothko Born in russia to a jewish family. - Family emigrated to west coast and family had to work odd jobs to survive after father’s death. Rothko attended Yale for one year on scholarship and then moved to New York City. Began painting studies at the New York School of Design in 1923. Taught at the Center Academy in painting and sculpture from 1929 1952. In 1939, formed the Federation of Modern Painters and Sculptors. - To keep art free from political propaganda Jane Frank Born in Baltimore, Maryland and studied art there and in New York at the Parson’s School of Design. - Original training was in commercial art and fashion illustration. Integrated her life as a wife and mother with her life as a painter, mixed media artist and sculptor. She began painting seriously at age 22 in 1940. Stylistically abstract expressionist with primary inspiration drawn from natural landscape, particularly aerial views. Later work includes a mixture of pebbles, sand, weathered sea glass and other bits of painted canvas. Her “aperture” paintings Jackson Pollock Born in Wyoming, grew up in California, moved to NYC in 1930. First solo art show was in 1943 in NY at “Art of this Century Gallery.”

Began his “drip” paintings in 1945. “I prefer to tack canvas on the floor. I feel nearer to the painting since I can walk around all four sides and literally be in the painting.” No positive or negative space...he managed to free line from its function of describing or bounding shapes and figures. In 2006, Pollock’s painting “No.5, 1948” became the world’s most expensive painting when it sold for the sum of $140,000,000. Pollock’s work changed painting to a progressive purification in form and elimination of historical content. Willem de Kooning Born in the Netherlands and came to the U.S. as a stowaway and eventually settled in New Jersey supporting himself as a house painter. Moved to NY in 1927 and began to paint still life and figure compositions. Early work reflects influences from Picasso and Miro, both of whom used biomorphic forms for powerful effect. During 1950s, taught in North Carolina and then at Yale School of Art. Helen Frankenthaler Thought of as an American “post-painterly abstraction” artist. Born in NYC. Career launched in 1952 with exhibition of the painting Mountains and the Sea. Pioneered the “soak stain” technique of painting directly on unprepared canvas with oil paint, allowing the paint to sink into the canvas instead of staying on the surface. Greatly influenced by Jackson Pollock. Thinned her paint with turpentine to allow the diluted color to penetrate quickly into the fabric rather than build up on the surface. Robert Rauschenberg Taught by Josef Albers at Black Mountain College. Albers rigid discipline and sense of method inspired him to do exactly the reverse of what Albers taught him. Incorporate found objects and found images as well. Used silkscreen method to transfer photographic images to the canvas. His “combine paintings” included unpainterly objects such as a bed quilt and a stuffed goat...breaking down the boundaries between painting and sculpture....