design principles - houston community college
TRANSCRIPT
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Chapter 8: Shape/Volume
Design Principles
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Shape
Shape— A visually perceived area created by an enclosing line, color or value change to define an edge.
l Shape can also be referred to as Form.
l Composition is the arrangement of shapes in a piece of art.
Sydney Licht. Still Life with Two Bunches. Oil on linen, 1’ x 1’. Kathryn Markel Fine Arts. Courtesy of
the artist.
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Form
Form - another term for shape, but can also refer to an overall impression of a piece.
l Shape is normally considered Two-Dimensional.
l Shape is the more precise term because form can have multiple meanings in art.
l Pictures can exist without color or texture, but rarely without shape.
Claude Monet. Rouen Cathedral: Portal, Grey Weather. 1892. Oil on canvas. Musée d’Orsay, Paris.
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Volume and Mass
Working in Two and Three Dimensions
l Volume and Mass are used to refer to 3D works.
l Pictures have shapes l Sculptures have masses.
Angle of Perception l Paintings can only be viewed from
the front l Sculptures can be viewed from 360
degrees l Each side is a different experience.
David Smith. Blackburn: Song of an Irish Blacksmith (front and side views). 1949-1950. Steel and bronze, 3’ 10 1/4” x 3’ 5” x 2’ (117 x 104 x 61 cm); height of base 8”(20 cm), diameter 7 1/4”(18 cm). Wilhelm Lehmbruck Museum, Duisburg, Germany. Art © Estate of David Smith/Licensed by VAGA, New York, New York.
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Combining Two and Three-Dimensional Work
Artwork can be both 2D and 3D at the same time.
l Relief sculpture is 3D, but is hung on a wall like a 2D painting.
l Collage often uses 3D objects on the canvas.
l Installation Art is an art form that uses both two-dimensional and three-dimensional form in a large format to evoke emotion. Often fills up an entire room.
Caryatids - Ancient sculptures of the female form that were used in Greek architecture as support pillars.
Jennifer Bartlett. Boats. 1987. Sculpture: painted wood, steel support, pine mast, 5’ 6 1/2” x 3’ 11 1/2” 3’ 10” each (169
x 121 117 cm); painting: oil on canvas, 9’ 10” x 14’ (3 x 4.3 m). Courtesy Paula Cooper Gallery, New York.
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Naturalism and Distortion
Naturalism (Realism)— Creating a picture that imitates what we see.
Distortion — The artist purposely changes or exaggerates the forms of nature.
l Meant to provoke an emotional response on the part of the viewer.
l Or it might serve to emphasize the design elements inherent in the subject matter. Russell Connor. The New Yorker cover drawing.
November 23, 1992.
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Distortion Old and New…
l Distortion is not a new technique; it was used in the past to convey emotion.
l The use of distortions has increased, some say due to the advent of cameras and their ability to depict reality exactly.
Anamorphic - an extremely
distorted shape that when seen from an angle depicts an image.
Hans Holbein the Younger. The Ambassadors. 1553. Oil on panel. © National Gallery, London, UK/The Bridgeman Art Library.
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Naturalism and Idealism
Naturalism shows life and nature exactly how it is. • It is concerned with true to life appearance. Idealism tries to create the perfect or ‘ideal’ form. l Idealism is a recurrent theme in art and in society. l The Greeks and Romans have strived to depict the ideal form. l Today we still do this in fashion and advertising. l Represents the world not as it is, but as how the artist and
society feels it should be. l Governments often use idealized images to promote their
political system.
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Naturalism vs. Idealism Examples
Catherine Murphy. Self-Portrait. 1970. Oil on canvas, 4’ 1 1/2” x 3’ 1 1/8” (125.7 x 94.3 cm). Museum of Fine Arts, Boston (gift of Michael and Gail Mazur, 1998.416). Photograph ©
2007 Museum of Fine Arts, Boston.
Polyclitus. Doryphorus (Spear Bearer). Roman copy after Greek original of c. 450-440 b.c.
Marble, height 6’ 11” (1.98 m). Museo Archeologico Nazionale, Naples, Italy.
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Abstraction: Essence of Shape
Abstraction— A simplification of natural shapes to basic shapes.
• The degree of abstraction can vary.
• ‘Reductive’ abstraction is where the subject is reduced or simplified to its basic building blocks.
• Abstraction is not new. • All form, however complex,
can be simplified to basic geometric shapes.
Paul Resika. July. 2001. Oil on canvas, 4’ 4” x 5’. Salander-OユReilly Galleries, LLC, New York, New York
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Biomorphic Shapes
Not all abstraction is geometric.
Biomorphic— Abstract
shapes that allude to natural, organic forms.
Arshile Gorky. Garden in Sochi. c. 1943. Oil on canvas, 2’ 7” x 3’ 3” (78.7x 99 cm). The
Museum of Modern Art, New York (acquired through the Lillie P. Bliss
Bequest, 492.1969).
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Nonobjective Shapes: Pure Forms
Nonobjective shapes –shapes that have no reference or subject matter.
l Nonobjective work is critiqued solely on its visual design. (Composition, color, etc…)
l Nonobjective work can still convey emotion.
Anne Ryan. No. 492. 1948-1954. Fabric and paper collage, 8’ 7” unframed. Walker Art Center (gift of
Elizabeth McFadden, 1979.21).
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Shape Associations
l Can any shape truly be nonobjective?
l Most shape will always evoke a response or a reference from the viewer.
Helen Frankenthaler. Over the Circle. 1961.
Oil on canvas, 7’ 1/8” x 7’ 3 7/16” (2.13 x 2.21 m). Jack S. Blanton Museum of Art, The University of Texas at Austin (gift of Mari and James A. Michener,
1991.213).
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Rectilinear and Curvilinear
Rectilinear— Forms that have straight lines, sharp edges and rectangular planes.
l Thought of as man made or manufactured things.
Curvilinear— A continual curved
form. l Thought of as natural
(However, nature used geometry and rectilinear shapes too.)
Arne Jacobsen. The Egg Chair. 1957 (in production since 1958). 107 x 86 x 79 cm. Photo: Jean-Claude Planchet. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France.
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Art Nouveau
Art Nouveau— An art style that emphasized curvilinear and natural shapes.
William H. Bradley. Magazine cover, The Chap Book, Thanksgiving Number, USA, 1894.
Lithograph. © Victoria and Albert Museum, London, UK/ The Bridgeman Art Library.
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Positive/Negative Shapes
Positive Shapes (Figure)-- The main shape or subject in a picture.
Negative Shapes (Ground)— The space in which this figure or positive shape resides.
l It is as important to design the negative spaces as it is to design the positive shape.
Utamaro. Ten looks of women’s physiognomy/enjoyable looks. The Japan Ukiyo-e Museum,
Matsumoto, Japan.
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Planned Negative Spaces
l Japanese artists often design and use the negative space of their images in unique ways.
l Negative shapes are very important in letterform and typography.
Aaron Siskind. Chicago 30. 1949. Silver gelatin, 1’ 1 7/8” 1’ 5 5/8”. International Center of
Photography, New York.
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Using Negative Space in Three Dimensions
l Negative space is very important in architecture.
l The negative space or open space is often even more important then the exterior.
Richard Serra. Joe. The Pulitzer Foundation,
St. Louis.
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Isolation or Integration
“Integration between positive and negative shapes is generally thought desirable.”
A shape placed randomly on a piece of paper will look “pasted-on” or bad.
You have to design the placement of shapes for interest, tension, etc…
El Lissitzky. Of Two Squares: A Suprematist Tale in Six Constructions. 1922. Illustrated book with
letterpress cover and six letterpress illustrations, 10 15/16” x 8 7/8” (27.8 x 22.5 cm). Publisher:
Skify, Berlin. Gift of the Judith Rothschild Foundation (89.2001.5).
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Examples for Discussion
Georges Seurat. The Black Bow. c. 1882. Conté crayon, 1’ 3/16” 9 1/16” (31 x 23 cm). Mus仔 dユOrsay, Paris.
Georges Seurat. Silhouette of a Woman. 1882-1884. Conté crayon on paper, 1’ 8 7/8” (30.5 x 22.5 cm). Collection of McNay Art Museum, San Antonio, Texas (bequest of Marion Koogler McNay).