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PRINTMAKING. FABRIC. CALLIGRAPHY. CHILDREN’S ILLUSTRATION. DIGITAL IMAGING. PAINTING. QUILTS. WALLPAPER DESIGN. PHOTOGRAPHY. MANGA. FIBER. COMICS. CARTOONS. EMBROIDERY. LETTERPRESS. BOOK DESIGN. POLITICAL CARTOONS. ARCHITECTURAL DESIGN. MOSAICS. MIXED MEDIA. PRODUCT DESIGN. - PowerPoint PPT PresentationTRANSCRIPT
COMICS
PRINTMAKING
QUILTS
MANGA
FASHION ILLUSTRATION
FASHION DESIGN
PAINTINGDIGITAL IMAGING
CALLIGRAPHY
LETTERPRESS
ILLUSTRATION
FIBER
FABRIC
ARCHITECTURAL DESIGN
PHOTOGRAPHYWALLPAPER DESIGN
BOOK DESIGN
BOOK COVER ILLUSTRATION/DESIGN
MIXED MEDIA
CARTOONS
MOVIE STORYBOARDS
POLITICAL CARTOONS
CHILDREN’S ILLUSTRATION
EMBROIDERY
MOSAICSPRODUCT DESIGN
STAINED GLASS
FILM STILLS
AP STUDIO ART 2D DESIGNJERRY STEFL
Arthur Wesley Dow; Silhouetted Trees; 1895
IT IS COMPLICATED
SO BE QUIET AND LISTEN
Arthur Wesley Dow
Composition: A Series of Exercises Selected from a New System of Art Education; 1899.
“Mr. Arthur Wesley Dow, the artist, who declares that ‘art education should begin at composition,…” “the filling of spaces in agreeable and harmonious arrangement…”
Henry Rankin Poore, Pictorial Composition and the Critical Judgment
of Pictures; 1903
WHAT IS 2D DESIGN?
DESIGN refers to the adaptation of means to an END.
…the coordination of parts to produce a result; intent and purpose fasten on the end itself.
…SO PUT ON THE 2D LENS…NOW!
VISUAL ORGANIZATION
“ART SEEKS VISUAL SOLUTIONS IN WHAT IS OFTEN CALLED THE DESIGN PROCESS.” Design Basics; Laurer & Pentak
CES 53
BAUHAUS 1919-33
Joost Schmidt; Poster for a Bauhaus Exhibition; 1923
Laszlo Moholy-Nagy; Photogram; 1926
Joseph Albers; Formulation, Articulation; 1972
Johannes Itten; Die Begegnung; 1916
Hannes Meyer; Konstruction; 1927
Lyonel Feininger; Oberweimar; 1927
TYPES OF 2D ARTRepresentational
E.J. Bellocq; Storyville/Untitled;1912 Karl Wirsum; Oops Goops; Etching 1997
NONREPRESENTATIONAL
Liz Ward; Crazy Weather; watercolor/gouache; 2008
Lee Krasner; Noon; Oil; 1947
Organizing Principles of 2D DESIGN
• Unity
• Emphasis/Focal Point/Contrast
• Scale/Proportion
• Balance
• Rhythm
UNITY
• An integrated image• Agreement exists
among the elements• The parts of the
whole look like they belong together
• Visual connection beyond mere chance
• Elements are harmonious
Wayne Thiebaud; Cakes; Oil; 1963
UNITY THROUGH PROXIMITY
Graffiti
UNITY/PROXIMITY
Romare Bearden; Madeline Jones’ Wonderful Garden; College of various papers, ink, graphite with surface abrasion on fiberboard; 1977
UNITY THROUGH REPETITION
Brian Dettmer; Book Autopsies; Altered books
UNITY/REPETITION
Margaret Bourke-White; Bread Line During the Louisville Flood, Kentucky; Silver Gelatin Print; 1937
UNITY THROUGH CONTINUATION
Jules Feiffer; Big Town; Iris print; 2009
UNITY/CONTINUATION
Banksy; The Thekla; Waterline; Bristol
UNITY USING THE GRID
Harold Michelson; Storyboard, “The Birds;” 1963
UNITY USING THE GRID
Eadweard Muybridge; Ascending Stairs; 1884-85
UNITY USING THE GRID
Manga; Page 9 from “Love Collage;” 2010
UNITY USING THE GRID
Roger Brown; The Young and Self Conscious; Oil; 1991
EMPHASIS/FOCAL POINT/CONTRAST
• An emphasized element can attract attention
• It encourages the viewer to look closer
• Large vs. small• Light vs. dark
Tony Fitzpatrick; O; Color etching; 2000
EMPHASIS BY CONTRAST
Mehdi Saeedi; The 18th International Music Festival; Poster for the Music Center,
Islamic Guidance Ministry; 2003
EMPHASIS BY CONTRAST
Ansel Adams; Bridal Veil Falls, Yosemite Valley; 1929
EMPHASIS BY CONTRAST
Ed Paschke; Paula; Oil on linen; 1972
EMPHASIS BY ISOLATION
David Brebin; Girl in Hong Kong; Digital C-Print; 2010
EMPHASIS BY ISOLATION
Erol/CT’INK; Dresden 09; Spray paint on cardboard; 2010
EMPHASIS BY ISOLATION
Jonathon Hexner; Boy Drinking 3/11; Dynamite Fuse & Utrachrome on paper; 2006
EMPHASIS BY PLACEMENT
Julie Blackmon; Take Off; Digitally constructed photograph, 2009
EMPHASIS BY PLACEMENT
Martin Ramireiz; Title Unknown; melted wax carayon, oatmeal paint on discarded paper; date
unknown
EMPHASIZING THE WHOLE OVER THE PARTS
Joan Miro; II. Ubo Roi: Le Banquet; Lithograph; 1966
EMPHASISING THE WHOLE OVER THE PARTS
Robert Swedroe; Paragon in Red; Oil on canvas; 2007
SCALE AND PROPORTION
• Refers to size• Large scale and small
scale are meaningless without a standard of reference
• Size measured against other elements is proportion
Ali Omar Ermes; The Letter ‘Kaf”-The Power of Expression; 1945
HUMAN SCALE/LARGE VS. SMALL
Christopher Klein; Dreamtime; Oil on Canvas
HUMAN SCALE/LARGE VS SMALL
Deborah Ebbers; Old Giants No. 2; Oil on Panel, 2009
SCALE IN CONTEXT
Kehinde Wiley; Three Graces; Oil/Enamel on canvas; 72x96 inches; 2005
SCALE IN CONTEXT
Magdalena Abakanowicz; Bois-Le-Duc; Sisal and wool weaving; 1970/71
BALANCE
• Distribution of visual weight seeming natural and unposed
• Equal distribution of visual weight on either side of a vertical axis
Mel Bochner; Blah, Blah, Blah; Oil on velvet; 49 x 37 inches; 2009
ASYMMETRICAL OR INFORMAL BALANCE
Matt Kane; And Together We’ll Remain the Parts that make Whole of Our Pain; Oil on canvas
ASYMMETRICAL OR INFORMAL BALANCE
James Mesple; Siren’s Song; Mixed Media; 2008
SYMMETRICAL OR FORMAL BALANCE
Karl Blossfeldt; Indian Balsam
SYMMETRICAL OR FORMAL BALANCE
Hollis Sigler; I Find Hope on the Horizon; Color Lithograph; 1996
Hollis Sigler; She Dreams of Escaping to Hope; Color Intaglio with lithographed mat;
1997
RADIAL SYMMETRY
Wissam Shawkat; Poster for Arabic Calligraphy; Ink; Iraq
RADIAL SYMMETRY
Sally Mann; At Warm Springs; Gelatin Silver Print; 1991
RHYTHM
• Movement across recurrent motifs
• Inherent in repetition• Made up of patterns
and sequences
Ed Paschke; Flamenco; 8 color screen print; 1991
RHYTHM USING REPETITION
Virginia Spiegel; Quilt; Cotton fabric dyed and painted, felting, threads
RHYTHM USING REPETITION
Bass/ Custard Factory/British Arts Council; Nelson Mandela
Marti Waller; Carousel; quilted fabrics
RHYTHM USING PATTERN AND
SEQUENCE
RHYTHM USING PATTERN AND SEQUENCE
Mary Bero; Modern Stories; Threads, embroidery on
cotton, 9x9 ¾ inches
ELEMENTS OF ART
• Can not stand alone• Elements need a principle
to become whole• A sentence needs a verb
and a noun to become a sentence
• A composition needs a verb (principle) and a noun (elements) to become a composition
Line
Shape
Value
Texture
Illusion of Space
Color
Robert Crumb; The Book of Genesis
LINE CAN CONVEY MOOD
LINE CAN DESCRIBE SHAPE
Henry Darger; Illustrations for ‘The Realms of the Unreal; Pencil and watercolor
LINE CREATING DIVERSITY AND EMPHASIS
Susan Rothenberg; Acrylic, pencil on paper, 1978
LINE CREATING DARKS AND LIGHTS
Joseph Yoakum; Mt. Safama Near Oruna Bolivia South America; Ballpoint pen & colored pencil; Feb. 14, 1966
OUTLINE OF FORMS
Orly Cogan; Size Matters; 46 x 46 inches; Handstitched embroidery on vintage tablecloth
EXPLICIT LINES
Brice Marden; Suzhow III; Colored etching, sugarlift, aquatint, drypoint, scraping; 1996-
98
RECTILINEAR SHAPE: POSITIVE/NEGATIVE
Lindon Leader; Leader Creative; FedEx Logo; 1994
CURVILINEAR SHAPE: POSITIVE/NEGATIVE
Reza Abedini; Calligraphic Poster Exhibition
Natural Shapes
Bill Traylor; Red Goat with Snake; Colored pencil on cardboard; 1939-42
EXAGGERATED SHAPES
Gladys Nilsson; Tea Time; Watercolor & gouache on paper;
2001
Luba Lukova; War Is Not the Answer; Poster
AMIBIGUOUS SHAPE
OUTLINED SHAPES
Get Down White Boy; BASS/Custard Factory; British Art Council
TEXTURE: ACTUAL
Amy Clark Moore; Atlanta’s Apple; 4 ¾ x 5 ½ inches; Beaded embroidery; 2004
TEXTURE: ACTUAL
Vadim Katznelson; Fluff; Acrylic/Resin on Board; 14 x 14 inches; 2008
TEXTURE: ACTUAL
Rosabelle Ben; Storm Pattern; Navajo Sandpainter
TEXTURE: IMPLIED
Robert Lostutter; Superb Sunbird; Black and white lithograph; 1991
TEXTURE: IMPLIED
Mickalene Thomas; Afro Goddess with Hand Between Legs; C-Print; 2006
TEXTURE: IMPLIED
Ray Yoshida; Scramble; Oil on Canvas; 54 x 78 inches; 1997
ILLUSION OF SPACE: OVERLAPPING
William Conger; Kabuki; Oil on Canvas; 60 x 96 inches; 2008
ILLUSION OF SPACE: ABSTRACT
John Fraser; Relief With Ruler (In Grey); Acrylic, Mixed Media (Ruler, book spine, book covers) on
wood construction;
ILLUSION OF SPACE: SIZE PROPORTIONS
Archibald Motley, Jr.; Nightlife; Oil on Canvas; 1943
ILLUSION OF SPACE: LINEAR PERSPECTIVE
Daniel Burnham; South Shore Park, Chicago, Illinois: Design Sketch; 1896
ILLUSION OF SPACE: LINEAR PERSPECTIVE
Henry Glass; Fada Radio Design, Red Radio: Presentation Drawing; 1946
ILLUSION OF SPACE: LINEAR PERSPECTIVE
George Tooker; Subway; Egg tempera on composition board; 18 x 36; 1950
ILLUSION OF SPACE: EXAGGERATED SIZE
Mary Jones; Red Table; Mixed media monoprint
VALUE: FULL RANGE
Robert Ziebell; Bridal Gowns; Silver Gelatin Print; 2009
VALUE: SUGGESTING SPACE
Audrey Niffenegger; Plate 7, From ‘The Three Incestuous Sisters; Handcolored etching with
aquatint
VALUE: DARK ON LIGHT
Nancy Spero; Suffragette/Hittite Goddess; Handprinting with printed collage; 1988
VALUE: LIGHT ON DARK
Fred Stonehouse; Untitled (Hood); Acrylic on wood; 24 x 19 inches
COOL COLOR EVOKES
RESPONSE
Pablo Picasso; The Old Guitarist; Oil on canvas; 1903/04
WARM COLOR EVOKES
RESPONSE
Laurie Hogan; Song of Retail #1: Pink Skull Monkey; Oil on panel;
19 x 19 inches
COLOR EVOKES RESPONSE: WARM/COOL CONTRAST
Leon Golub; Interrogation II; Oil on canvas scraped; 1981
MONOCHROMATIC COLOR
Mark Rothko; Untitled Painting; Oil on Canvas; 1953/54
MONOCHROMATIC COLOR
Jeffery Ripple; Bullhead; Oil on paper; 19 x 26
COMPLEMENTARY COLOR
Hans Hoffman; The Golden Wall; Oil on Canvas; 1961
COMPLEMENTARY COLOR
Lola Pettway; Housetop; 2002
COMPLEMENTARY COLOR
Edward Hopper; Nighthawks; Oil on canvas; 1942
COLOR DOMINANCE
Mike Noland; The Stormy Night; Oil on canvas; 36 x 48 inches
SYMBOLIC COLOR
Jasper Johns; Flag; Encaustic, oil, collage on fabric mounted on panels; 42 x 60 inches; 1954/55
SYMBOLIC COLOR
Faith Ringgold; American Quilt
Luba Lukova; Social Security; Poster
SYMBOLIC COLOR
COMICS
PRINTMAKING
QUILTS
MANGA
FASHION ILLUSTRATION
FASHION DESIGN
PAINTINGDIGITAL IMAGING
CALLIGRAPHY
LETTERPRESS
ILLUSTRATION
FIBER
FABRIC
ARCHITECTURAL DESIGN
PHOTOGRAPHYWALLPAPER DESIGN
BOOK DESIGN
BOOK COVER ILLUSTRATION/DESIGN
MIXED MEDIA
CARTOONS
MOVIE STORYBOARDS
POLITICAL CARTOONS
CHILDREN’S ILLUSTRATION
EMBROIDERY
MOSAICSPRODUCT DESIGN
STAINED GLASS
FILM STILLS