Design Basics / Edition 8 available in Paperback
- ISBN-10:
- 1111353980
- ISBN-13:
- 2901111353987
- Pub. Date:
- 01/01/2011
- Publisher:
- Cengage Learning
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Overview
Product Details
ISBN-13: | 2901111353987 |
---|---|
Publisher: | Cengage Learning |
Publication date: | 01/01/2011 |
Edition description: | Older Edition |
Pages: | 320 |
Product dimensions: | 8.90(w) x 10.70(h) x 0.60(d) |
About the Author
Stephen Pentak received his BA from Union College in New York, and his MFA from Tyler School of Art at Temple University. He is Professor Emeritus of Art, and a past Associate Dean of the College of the Arts at Ohio State University. He has been the recipient of four Ohio Arts Council Fellowships and he has been a visiting resident artist at Delfina Studios in London, and Glasgow School of Art. Mr. Pentak's recent solo exhibitions include shows at Kathryn Markel Fine Arts in New York and Susan Street in San Diego. He is co-author of COLOR BASICS as well as DESIGN BASICS. www.stephenpentak.com.
Table of Contents
Part 1 | Design Principles | 1 |
1 | Design Process | 3 |
Introduction | 4 | |
Design Defined | 4 | |
Procedures | 6 | |
Steps in the Process | 6 | |
Thinking | 8 | |
Getting Started | 8 | |
Form and Content | 10 | |
Form and Function | 12 | |
Looking | 14 | |
Sources: Nature | 14 | |
Sources: History and Culture | 16 | |
Doing | 18 | |
Thinking with Materials | 18 | |
Critique | 20 | |
Constructive Criticism | 20 | |
2 | Unity | 23 |
Introduction | 24 | |
Harmony | 24 | |
Visual Unity | 26 | |
Gestalt | 28 | |
Visual Perception | 28 | |
Ways to Achieve Unity | 30 | |
Proximity | 30 | |
Repetition | 32 | |
Continuation | 34 | |
Continuity | 36 | |
Unity with Variety | 38 | |
The Grid | 38 | |
Varied Repetition | 40 | |
Emphasis on Unity | 42 | |
Emphasis on Variety | 44 | |
Chaos and Control | 46 | |
3 | Emphasis and Focal Point | 49 |
Introduction | 50 | |
Attracting Attention | 50 | |
Ways to Achieve Emphasis | 52 | |
Emphasis by Contrast | 52 | |
Emphasis by Isolation | 54 | |
Emphasis by Placement | 56 | |
Degree of Emphasis | 58 | |
One Element | 58 | |
Absence of Focal Point | 60 | |
Emphasizing the Whole over the Parts | 60 | |
4 | Scale/Proportion | 63 |
Introduction | 64 | |
Scale and Proportion | 64 | |
Scale of Art | 66 | |
Human Scale Reference | 66 | |
Context | 68 | |
Scale within Art | 70 | |
Internal Proportions | 70 | |
Contrast of Scale | 72 | |
Scale Confusion | 74 | |
Surrealism and Fantasy | 74 | |
Proportion | 76 | |
Notions of the Ideal | 76 | |
Root Rectangles | 78 | |
5 | Balance | 81 |
Introduction | 82 | |
Imbalance | 84 | |
Horizontal and Vertical Placement | 84 | |
Symmetrical Balance | 86 | |
Architectural Examples | 86 | |
Examples from Various Art Forms | 88 | |
Asymmetrical Balance | 90 | |
Introduction | 90 | |
Balance by Value and Color | 92 | |
Balance by Texture and Pattern | 94 | |
Balance by Position and Eye Direction | 96 | |
Analysis Summary | 98 | |
Radial Balance | 100 | |
Examples in Nature and Art | 100 | |
Crystallographic Balance | 102 | |
Allover Pattern | 102 | |
6 | Rhythm | 105 |
Introduction | 106 | |
Visual Rhythm | 106 | |
Rhythm and Motion | 108 | |
Shapes and Repetition | 108 | |
Alternating Rhythm | 110 | |
Patterns and Sequence | 110 | |
Progressive Rhythm | 112 | |
Converging Patterns | 112 | |
Rhythmic Sensations | 114 | |
Engaging the Senses | 114 | |
Part 2 | Design Elements | 117 |
7 | Line | 119 |
Introduction | 120 | |
Defining Form | 120 | |
Line and Shape | 122 | |
Defining Shape | 122 | |
Types of Line | 124 | |
Actual, Implied, and Psychic Lines | 124 | |
Line Direction | 126 | |
Horizontal, Vertical, and Diagonal Lines | 126 | |
Contour and Gesture | 128 | |
Precision or Spontaneity | 128 | |
Line Quality | 130 | |
Creating Variety and Emphasis | 130 | |
Line as Value | 132 | |
Using Lines to Create Dark and Light | 132 | |
Line in Painting | 134 | |
Outline of Forms | 134 | |
Explicit Line | 136 | |
Lost-and-Found Contour | 138 | |
Suggestions of Form | 138 | |
8 | Shape/Volume | 141 |
Introduction | 142 | |
Volume/Mass | 144 | |
Working in Two and Three Dimensions | 144 | |
Naturalism and Distortion | 146 | |
Exaggerated Shapes | 146 | |
Naturalism and Idealism | 148 | |
Nature Improved | 148 | |
Abstraction | 150 | |
Essence of Shape | 150 | |
Nonobjective Shapes | 152 | |
Pure Forms | 152 | |
Rectilinear and Curvilinear Shapes | 154 | |
Positive/Negative Shapes | 156 | |
Introduction | 156 | |
Integration | 158 | |
Confusion | 160 | |
9 | Texture | 163 |
Introduction | 164 | |
Adding Visual Interest | 164 | |
Tactile Texture | 166 | |
Actual and Implied | 166 | |
Collage | 168 | |
Visual Texture | 170 | |
Visual Impression | 170 | |
Trompe L'oeil | 172 | |
Texture and Pattern | 174 | |
Variation versus Regularity | 174 | |
10 | Illusion of Space | 177 |
Introduction | 178 | |
Occupying Space in Two Dimensions | 178 | |
Devices to Show Depth | 180 | |
Size | 180 | |
Exaggerated Size | 182 | |
Overlapping | 184 | |
Vertical Location | 186 | |
Aerial Perspective | 188 | |
Linear Perspective | 190 | |
One-Point Perspective | 192 | |
Two-Point Perspective | 194 | |
Multipoint Perspective | 196 | |
Amplified Perspective | 198 | |
A Different Point of View | 198 | |
Multiple Perspective | 200 | |
A Pictorial Device | 200 | |
Isometric Projection | 202 | |
A Spatial Illusion | 202 | |
Open Form/Closed Form | 204 | |
The Concept of Enclosure | 204 | |
Transparency | 206 | |
Equivocal Space | 206 | |
Spatial Puzzles | 208 | |
Ignoring Conventions | 208 | |
11 | Illusion of Motion | 211 |
Introduction | 212 | |
Reflecting the World around Us | 212 | |
Anticipated Motion | 214 | |
"Seeing" the Action | 214 | |
Ways to Suggest Motion | 216 | |
Figure Repeated, Figure Cropped | 216 | |
Blurred Outlines | 218 | |
Multiple Image | 220 | |
12 | Value | 223 |
Introduction | 224 | |
Light and Dark | 224 | |
Value Pattern | 226 | |
Variations in Light and Dark | 226 | |
Value as Emphasis | 228 | |
Creating a Focal Point | 228 | |
Value and Space | 230 | |
Using Value to Suggest Space | 230 | |
Techniques | 232 | |
An Overview | 232 | |
13 | Color | 235 |
Introduction | 236 | |
Color Theory | 236 | |
Color Characteristics | 238 | |
Light and Color Perception | 238 | |
Influence of Context | 240 | |
Properties of Color | 242 | |
Hue | 242 | |
Value | 244 | |
Intensity/Complementary Colors | 246 | |
Visual Color Mixing | 248 | |
Techniques That Suggest Light | 248 | |
Cool/Warm Colors | 250 | |
Identifying Color with the Senses | 250 | |
Color as Emphasis | 252 | |
Color Dominance | 252 | |
Color and Balance | 254 | |
Achieving Balance within Asymmetrical Composition | 254 | |
Color and Space | 256 | |
Color's Spatial Properties | 256 | |
Color Schemes | 258 | |
Monochromatic/Analogous | 258 | |
Complementary/Triadic | 260 | |
Color Discord and Vibrating Colors | 262 | |
Unexpected Combinations | 262 | |
Color Uses | 264 | |
Local, Optical, Arbitrary | 264 | |
Emotional Color | 266 | |
Color Evokes a Response | 266 | |
Color Symbolism | 268 | |
Conceptual Qualities of Color | 268 | |
Color versus Value | 270 | |
A Continuing Debate | 270 | |
Glossary | 272 | |
Bibliography | 275 | |
Photographic Sources | 277 | |
Index | 279 |
Introduction
The arts are called "creative" fields because there are no predetermined correct answers to the problems. Infinite variations in individual interpretations and applications are possible. Problems in art vary in specifics and complexity and take various forms. Independent painters or sculptors usually create their own problems or avenues they wish to explore. These may be as wide or as narrow as the artist chooses. The architect or graphic and industrial designer is usually given the problem, often with very specific options and clearly defined limitations. Students in art classes also usually are in this category-they execute a series of assignments devised by theinstructor and requiring rather specific solutions. However, all art or visual problems are similar in that a creative solution is desired.
We use the word "creative" to mean a solution that is original, imaginative, fresh, or unusual. The poster in B is a wonderful expression of the creative approach. It is a simple design that graphically shows an important idea. Knowing how to do something is not necessarily the essential factor: it is knowing what to do. The ability to know what to reject (or erase) is as important as simply having the talent to create something. The circular pencil shows that both its ends are vital to this design process.
The creative aspect of art also includes the often-heard phrase that "there are no rules in art." This is true. In solving problems visually, there is no list of strict or absolute dos and don'ts to follow. Given all the varied objectives of visual art through the ages, definite laws are impossible. However, the "no rules" phrase may seem to imply that all designs are equally valid and visually successful. This is not true. Artistic practices and criteria have been developed from successful works, of which an artist or designer should be aware. Thus, guidelines (not rules) exist that usually will assist in the crea- tion of successful designs. These guidelines certainly do not mean that the artist is limited to any specific solution.
Discussions of art often distinguish between two aspects, content and form. Content implies the subject matter, story, or information that the artwork seeks to communicate to the viewer. Form is the purely visual aspect, the manipulation of the various elements and principles of design. Content is what artists want to say; form is how they say it. Problems in art can concern one or both categories.
Sometimes the aim of a work of art is purely aesthetic. Subject matter can be absent and the problem related only to creating visual pleasure. Purely abstract adornment or decoration is a very legitimate role in art. Very often, however, problems in art have a purpose beyond mere visual satisfaction. Art is, and always has been, a means of visual communication.