comics
DESCRIPTION
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
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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
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AP STUDIO ART 2D DESIGNJERRY STEFL
Arthur Wesley Dow; Silhouetted Trees; 1895
IT IS COMPLICATED
SO BE QUIET AND LISTEN
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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
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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!
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VISUAL ORGANIZATION
“ART SEEKS VISUAL SOLUTIONS IN WHAT IS OFTEN CALLED THE DESIGN PROCESS.” Design Basics; Laurer & Pentak
CES 53
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BAUHAUS 1919-33
Joost Schmidt; Poster for a Bauhaus Exhibition; 1923
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Laszlo Moholy-Nagy; Photogram; 1926
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Joseph Albers; Formulation, Articulation; 1972
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Johannes Itten; Die Begegnung; 1916
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Hannes Meyer; Konstruction; 1927
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Lyonel Feininger; Oberweimar; 1927
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TYPES OF 2D ARTRepresentational
E.J. Bellocq; Storyville/Untitled;1912 Karl Wirsum; Oops Goops; Etching 1997
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NONREPRESENTATIONAL
Liz Ward; Crazy Weather; watercolor/gouache; 2008
Lee Krasner; Noon; Oil; 1947
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Organizing Principles of 2D DESIGN
• Unity
• Emphasis/Focal Point/Contrast
• Scale/Proportion
• Balance
• Rhythm
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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
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UNITY THROUGH PROXIMITY
Graffiti
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UNITY/PROXIMITY
Romare Bearden; Madeline Jones’ Wonderful Garden; College of various papers, ink, graphite with surface abrasion on fiberboard; 1977
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UNITY THROUGH REPETITION
Brian Dettmer; Book Autopsies; Altered books
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UNITY/REPETITION
Margaret Bourke-White; Bread Line During the Louisville Flood, Kentucky; Silver Gelatin Print; 1937
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UNITY THROUGH CONTINUATION
Jules Feiffer; Big Town; Iris print; 2009
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UNITY/CONTINUATION
Banksy; The Thekla; Waterline; Bristol
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UNITY USING THE GRID
Harold Michelson; Storyboard, “The Birds;” 1963
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UNITY USING THE GRID
Eadweard Muybridge; Ascending Stairs; 1884-85
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UNITY USING THE GRID
Manga; Page 9 from “Love Collage;” 2010
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UNITY USING THE GRID
Roger Brown; The Young and Self Conscious; Oil; 1991
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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
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EMPHASIS BY CONTRAST
Mehdi Saeedi; The 18th International Music Festival; Poster for the Music Center,
Islamic Guidance Ministry; 2003
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EMPHASIS BY CONTRAST
Ansel Adams; Bridal Veil Falls, Yosemite Valley; 1929
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EMPHASIS BY CONTRAST
Ed Paschke; Paula; Oil on linen; 1972
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EMPHASIS BY ISOLATION
David Brebin; Girl in Hong Kong; Digital C-Print; 2010
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EMPHASIS BY ISOLATION
Erol/CT’INK; Dresden 09; Spray paint on cardboard; 2010
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EMPHASIS BY ISOLATION
Jonathon Hexner; Boy Drinking 3/11; Dynamite Fuse & Utrachrome on paper; 2006
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EMPHASIS BY PLACEMENT
Julie Blackmon; Take Off; Digitally constructed photograph, 2009
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EMPHASIS BY PLACEMENT
Martin Ramireiz; Title Unknown; melted wax carayon, oatmeal paint on discarded paper; date
unknown
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EMPHASIZING THE WHOLE OVER THE PARTS
Joan Miro; II. Ubo Roi: Le Banquet; Lithograph; 1966
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EMPHASISING THE WHOLE OVER THE PARTS
Robert Swedroe; Paragon in Red; Oil on canvas; 2007
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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
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HUMAN SCALE/LARGE VS. SMALL
Christopher Klein; Dreamtime; Oil on Canvas
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HUMAN SCALE/LARGE VS SMALL
Deborah Ebbers; Old Giants No. 2; Oil on Panel, 2009
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SCALE IN CONTEXT
Kehinde Wiley; Three Graces; Oil/Enamel on canvas; 72x96 inches; 2005
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SCALE IN CONTEXT
Magdalena Abakanowicz; Bois-Le-Duc; Sisal and wool weaving; 1970/71
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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
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ASYMMETRICAL OR INFORMAL BALANCE
Matt Kane; And Together We’ll Remain the Parts that make Whole of Our Pain; Oil on canvas
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ASYMMETRICAL OR INFORMAL BALANCE
James Mesple; Siren’s Song; Mixed Media; 2008
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SYMMETRICAL OR FORMAL BALANCE
Karl Blossfeldt; Indian Balsam
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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
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RADIAL SYMMETRY
Wissam Shawkat; Poster for Arabic Calligraphy; Ink; Iraq
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RADIAL SYMMETRY
Sally Mann; At Warm Springs; Gelatin Silver Print; 1991
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RHYTHM
• Movement across recurrent motifs
• Inherent in repetition• Made up of patterns
and sequences
Ed Paschke; Flamenco; 8 color screen print; 1991
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RHYTHM USING REPETITION
Virginia Spiegel; Quilt; Cotton fabric dyed and painted, felting, threads
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RHYTHM USING REPETITION
Bass/ Custard Factory/British Arts Council; Nelson Mandela
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Marti Waller; Carousel; quilted fabrics
RHYTHM USING PATTERN AND
SEQUENCE
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RHYTHM USING PATTERN AND SEQUENCE
Mary Bero; Modern Stories; Threads, embroidery on
cotton, 9x9 ¾ inches
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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
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Robert Crumb; The Book of Genesis
LINE CAN CONVEY MOOD
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LINE CAN DESCRIBE SHAPE
Henry Darger; Illustrations for ‘The Realms of the Unreal; Pencil and watercolor
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LINE CREATING DIVERSITY AND EMPHASIS
Susan Rothenberg; Acrylic, pencil on paper, 1978
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LINE CREATING DARKS AND LIGHTS
Joseph Yoakum; Mt. Safama Near Oruna Bolivia South America; Ballpoint pen & colored pencil; Feb. 14, 1966
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OUTLINE OF FORMS
Orly Cogan; Size Matters; 46 x 46 inches; Handstitched embroidery on vintage tablecloth
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EXPLICIT LINES
Brice Marden; Suzhow III; Colored etching, sugarlift, aquatint, drypoint, scraping; 1996-
98
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RECTILINEAR SHAPE: POSITIVE/NEGATIVE
Lindon Leader; Leader Creative; FedEx Logo; 1994
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CURVILINEAR SHAPE: POSITIVE/NEGATIVE
Reza Abedini; Calligraphic Poster Exhibition
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Natural Shapes
Bill Traylor; Red Goat with Snake; Colored pencil on cardboard; 1939-42
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EXAGGERATED SHAPES
Gladys Nilsson; Tea Time; Watercolor & gouache on paper;
2001
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Luba Lukova; War Is Not the Answer; Poster
AMIBIGUOUS SHAPE
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OUTLINED SHAPES
Get Down White Boy; BASS/Custard Factory; British Art Council
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TEXTURE: ACTUAL
Amy Clark Moore; Atlanta’s Apple; 4 ¾ x 5 ½ inches; Beaded embroidery; 2004
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TEXTURE: ACTUAL
Vadim Katznelson; Fluff; Acrylic/Resin on Board; 14 x 14 inches; 2008
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TEXTURE: ACTUAL
Rosabelle Ben; Storm Pattern; Navajo Sandpainter
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TEXTURE: IMPLIED
Robert Lostutter; Superb Sunbird; Black and white lithograph; 1991
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TEXTURE: IMPLIED
Mickalene Thomas; Afro Goddess with Hand Between Legs; C-Print; 2006
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TEXTURE: IMPLIED
Ray Yoshida; Scramble; Oil on Canvas; 54 x 78 inches; 1997
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ILLUSION OF SPACE: OVERLAPPING
William Conger; Kabuki; Oil on Canvas; 60 x 96 inches; 2008
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ILLUSION OF SPACE: ABSTRACT
John Fraser; Relief With Ruler (In Grey); Acrylic, Mixed Media (Ruler, book spine, book covers) on
wood construction;
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ILLUSION OF SPACE: SIZE PROPORTIONS
Archibald Motley, Jr.; Nightlife; Oil on Canvas; 1943
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ILLUSION OF SPACE: LINEAR PERSPECTIVE
Daniel Burnham; South Shore Park, Chicago, Illinois: Design Sketch; 1896
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ILLUSION OF SPACE: LINEAR PERSPECTIVE
Henry Glass; Fada Radio Design, Red Radio: Presentation Drawing; 1946
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ILLUSION OF SPACE: LINEAR PERSPECTIVE
George Tooker; Subway; Egg tempera on composition board; 18 x 36; 1950
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ILLUSION OF SPACE: EXAGGERATED SIZE
Mary Jones; Red Table; Mixed media monoprint
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VALUE: FULL RANGE
Robert Ziebell; Bridal Gowns; Silver Gelatin Print; 2009
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VALUE: SUGGESTING SPACE
Audrey Niffenegger; Plate 7, From ‘The Three Incestuous Sisters; Handcolored etching with
aquatint
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VALUE: DARK ON LIGHT
Nancy Spero; Suffragette/Hittite Goddess; Handprinting with printed collage; 1988
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VALUE: LIGHT ON DARK
Fred Stonehouse; Untitled (Hood); Acrylic on wood; 24 x 19 inches
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COOL COLOR EVOKES
RESPONSE
Pablo Picasso; The Old Guitarist; Oil on canvas; 1903/04
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WARM COLOR EVOKES
RESPONSE
Laurie Hogan; Song of Retail #1: Pink Skull Monkey; Oil on panel;
19 x 19 inches
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COLOR EVOKES RESPONSE: WARM/COOL CONTRAST
Leon Golub; Interrogation II; Oil on canvas scraped; 1981
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MONOCHROMATIC COLOR
Mark Rothko; Untitled Painting; Oil on Canvas; 1953/54
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MONOCHROMATIC COLOR
Jeffery Ripple; Bullhead; Oil on paper; 19 x 26
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COMPLEMENTARY COLOR
Hans Hoffman; The Golden Wall; Oil on Canvas; 1961
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COMPLEMENTARY COLOR
Lola Pettway; Housetop; 2002
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COMPLEMENTARY COLOR
Edward Hopper; Nighthawks; Oil on canvas; 1942
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COLOR DOMINANCE
Mike Noland; The Stormy Night; Oil on canvas; 36 x 48 inches
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SYMBOLIC COLOR
Jasper Johns; Flag; Encaustic, oil, collage on fabric mounted on panels; 42 x 60 inches; 1954/55
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SYMBOLIC COLOR
Faith Ringgold; American Quilt
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Luba Lukova; Social Security; Poster
SYMBOLIC COLOR
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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