Introduction to Design / Edition 2

Paperback (Print)
Rent
Rent from BN.com
$23.07
(Save 83%)
Est. Return Date: 06/18/2014
Buy Used
Buy Used from BN.com
$84.44
(Save 39%)
Item is in good condition but packaging may have signs of shelf wear/aging or torn packaging.
Condition: Used – Good details
Used and New from Other Sellers
Used and New from Other Sellers
from $12.18
Usually ships in 1-2 business days
(Save 91%)
Other sellers (Paperback)
  • All (23) from $12.18   
  • New (5) from $83.40   
  • Used (18) from $12.18   

Overview

This book covers two dimensional design (basic design fundamentals) and is geared toward first-year undergraduates in fine art and design. A comprehensive, well illustrated introduction to the basic principles underlying all of the two-dimensional arts, this book covers the elements and principles of two-dimensional design.
Read More Show Less

Product Details

  • ISBN-13: 9780132085113
  • Publisher: Pearson
  • Publication date: 8/11/2008
  • Edition description: New Edition
  • Edition number: 2
  • Pages: 272
  • Sales rank: 948,358
  • Product dimensions: 8.40 (w) x 10.90 (h) x 0.50 (d)

Meet the Author

Alan Pipes is a freelance writer, illustrator, webmaster, and part-time publisher, specializing in applications of computer technology to graphic design, fine art, illustration, and product design. He is the former editor of CadCam International, and author of Drawing for 3-Dimensional Design and Production for Graphic Designers 3e.

Read More Show Less

Table of Contents

Preface 8

Part 1 Elements 13

Chapter 1 Points and Lines 15

Introduction 16

Points 20

Types of Line 22

Line Direction 24

Box–De Stijl: Netherlands, 1917—32 25

Box–Constructivism: Russia, 1919—34 26

Line Quality 28

Lines and Outlines–Describing Shapes 30

Box–Pop Art: England and America,
1950—70s 31

Contours, Wireframes, and Freeform
Gesture 32

Lines as Value–Cross-Hatching and
Screening 34

Imaginary Lines–Lost and Found Edges 36

Box–Plakastil: Germany, 1900—21 37

Exercises 37

Chapter 2 Shape 39

Introduction 40

Geometric and Rectilinear Shapes 46

Curvilinear and Biomorphic Shapes 48

Box–Art Nouveau: France, Worldwide
1890—1914 49

Abstract and Non-representational
Shapes 50

Box–Cubism: France, 1907—14 51

Text and Type 52

Positive and Negative Shapes 54

Distortion and Idealism 56

Box–The Renaissance: Italy,
14th to 16th Century 57

Exercises 59

Chapter 3 Texture 61

Introduction 62

Tactile Texture 66

Collage 68

Box–Dada: Germany and Paris,
1916—22 70

Visual Texture 72

Trompe L’oeil 74

Pattern 76

Exercises 77

Chapter 4 Space–Creating the
Illusion of Depth 79

Introduction 80

Space–Shallow and Deep 86

Size Cues 88

Linear Perspective 90

One-Point Perspective 94

Two-Point Perspective 96

Three-Point Perspective 98

Amplified and Aerial Perspective 100

Metric Projections 102

Box–Modernism: Worldwide,
1890—1970 105

Open and Closed Compositions 106

Spatial Confusion 108

Exercises 109

Chapter 5 Time and Motion 111

Introduction 112

Box–Kinetic Art 112

Anticipated Motion 116

Repeated Figures 118

Multiple Images 120

Box–Futurism: Italy, 1909—16 120

Motion Blur 122

Box–Abstract Expressionism: America,
1940s—60s 123

Exercises 123

Chapter 6 Value 125

Introduction 126

Patterns of Value 132

Chiaroscuro–Light and Shade 134

Digital Shading and Lighting 138

Exercises 141

Chapter 7 Color 143

Introduction 144

Box–Impressionism: France,
1867—86 147

What Is Color? 148

Color Characteristics 150

Color Theory–Wheels, Triangles,
and Trees 152

Box–Bauhaus: Germany, 1919—33 152

Color Through the Ages 154

Color Printing, Computers, and the Web 158

Color Interactions 160

Box–Pointillism: France, 1883—1900 160

Color Schemes 162

Using Color 166

Warm and cool 167

Emphasis 167

Box–The Pre-Raphaelites: Britain,
1848—60 167

Visual balance 168

Space and depth 168

Box–Fauvism: France, 1905—08 168

Value 169

The Meaning of Color 170

Exercises 171

Part 2 Rules 173

Chapter 8 Unity and Harmony 175

Introduction 176

Thematic Unity 180

Gestalt and Visual Unity 182

The Grid 184

Achieving Unity 186

Exercises 189

Chapter 9 Balance 191

Introduction 192

Formal and Informal Balance 196

Symmetrical and Asymmetrical Balance 198

Balance by Shape and Texture 200

Balance by Value and Color 202

Balance by Position and Eye Direction 204

Radial Balance 206

Crystallographic Balance 208

Exercises 209

Chapter 10 Scale and Proportion 211

Introduction 212

Human Scale 216

Contrast and Confusion 220

Box–Surrealism: France, 1924—39 221

Ideal Proportion 222

Exercises 225

Chapter 11 Contrast and
Emphasis 227

Introduction 228

Contrast by Value and Color 232

Isolation 234

Placement 236

Absence of Focal Point 238

Exercises 241

Chapter 12 Rhythm 243

Introduction 244

Rhythm and Motion 248

Alternating and Progressive Rhythm 250

Box–Art Deco: Worldwide,
1920—39 250

Rhythmic Sensation 252

Exercises 253

Glossary 254

Bibliography 262

Web Resources 264

Picture Credits 265

Index 267

Read More Show Less

Preface

"Reason informed by emotion... expressed in beauty... elevated by earnestness... lightened by humor... that is the ideal that should guide all artists."
– CHARLES RENNIE MACKINTOSH

What is art? Art is what artists do, Dadaist Marcel Duchamp might have said. Art is what you can get away with, you may be tempted to think when looking at contemporary artworks. The word art derives from Sanskrit and means "making" or "creating something". We can only guess why our earliest ancestors started to make art, drawing and carving on cave walls. Egyptian wall paintings and African art have a ritual dimension, but still manage to delight our eyes. The ancient Greeks and Romans surrounded their lives with culture: poetry, theater, sculptures-and paintings, few of which survive. They were probably the first artists who painted purely for pleasure and for the joy their art gave others. Whatever the reasons for creating, art enriches our lives, stimulates our senses, or simply makes us think. Artists have come to be revered for their gift of profound insight into the human condition.

In Byzantine and Renaissance times, being an artist was just a job: painters had workshops full of assistants, and artisans making paint and preparing panels and canvases. They generally produced religious artworks for wealthy patrons. It was only in the late nineteenth century that "art for art's sake" began to emerge, art being seen as an expression of the artist's emotions. Since then Hollywood has depicted such artists as Vincent van Gogh and Henri de Toulouse-Lautrec as glamorous yet tortured visionaries who suffered for their art, locked away in solitary garrets.Abstract art followed, and today almost anything goes.

What is design? Its roots are found in the Italian word disegnare, to create. In these days of designer jeans and kitchens, it is easy to think of design equating to stylish consumer goods or gadgets, made desirable by clever and knowing graphics (which draw ultimately on art for inspiration). We can forget that everything artificial—good or bad—has been designed by someone.

In its broadest sense, design is preparing for action: planning and organizing. We might have "designs" on someone, and plan how we can engineer a successful outcome. Architects design buildings, industrial designers design products, and artists design paintings and sculptures. This book looks at design in the easel-based arts, with references to the allied arts of photography and sculpture. By easel arts we mean drawing, painting, and printmaking, in the sense of making marks on paper or canvas, or the screen-based arts: video, computer, and installation-based works. The computer has blurred the boundaries between the traditional creative disciplines, but they all share a need for planning and visual organization.

Design can also be considered as a form of problem-solving. But unlike math, in art there is never a single correct solution. This is why artists and designers are often called "creatives." Painters and sculptors often set their own tasks; designers and illustrators are given a brief with strictly defined parameters, and attempt a design based on those constraints. Even in abstract expressionism, where you might imagine that all the artist does is throw a pot of paint at the canvas and hope for the best, there are underlying processes at work. The artist's eye and hand in tandem are guided by a need to produce an outcome, and he or she is informed by the whole history of art up until that point. Chance and randomness do have a place, but serendipity is a better term: you need skill and experience to turn a happy accident to your advantage.

It is beyond the scope of this book to provide a comprehensive overview of art history, but there are plenty of other books and web resources—some of which are listed toward the end of this book, should you be inspired to explore further. Nor can this book be an art appreciation guide, although understanding how and why artworks were created, what the artists were trying to achieve, and who their influences were will pay dividends when planning your own works. Looking should be the main education of every artist.

Design in the context of this book means, simply, composition. How do we place and arrange the various elements of design discussed in Part 1—of little use on their own-to create a unified and thoughtful piece of work that will interest the viewer? The way in which to go about this, using rules or principles, is outlined in Part 2. The many illustrations serve as examples, and as inspiration. Although the chapters are set out in a logical sequence, it is almost impossible to isolate a particular element—discussing line, for example-without mentioning its textural component. There will be some repetition and overlap, but perhaps the reader will recognize that all the elements and principles of design are equally important, and, once joined together in the right combination, they will result in a successful artwork. We describe them; how they are used is up to you.

Many people have contributed to the creation of this book. I should like to thank in particular Lee Greenfield for commissioning me to write it, my editor Richard Mason for his patience and eye for detail, my picture researcher Sue Bolsom for her tireless work and lateral thinking, and the designer Ian Hunt for assembling words and images into a harmonious composition. I should also like to thank friends and colleagues of the Brighton Illustrators Group, many of whom have contributed images, and the staff of Brighton University Library at St. Peter's House and of Brighton Public Library for their help in research.

Alan Pipes, July 2003

Read More Show Less

Introduction

"Reason informed by emotion... expressed in beauty... elevated by earnestness... lightened by humor... that is the ideal that should guide all artists."
– CHARLES RENNIE MACKINTOSH

What is art? Art is what artists do, Dadaist Marcel Duchamp might have said. Art is what you can get away with, you may be tempted to think when looking at contemporary artworks. The word art derives from Sanskrit and means "making" or "creating something". We can only guess why our earliest ancestors started to make art, drawing and carving on cave walls. Egyptian wall paintings and African art have a ritual dimension, but still manage to delight our eyes. The ancient Greeks and Romans surrounded their lives with culture: poetry, theater, sculptures-and paintings, few of which survive. They were probably the first artists who painted purely for pleasure and for the joy their art gave others. Whatever the reasons for creating, art enriches our lives, stimulates our senses, or simply makes us think. Artists have come to be revered for their gift of profound insight into the human condition.

In Byzantine and Renaissance times, being an artist was just a job: painters had workshops full of assistants, and artisans making paint and preparing panels and canvases. They generally produced religious artworks for wealthy patrons. It was only in the late nineteenth century that "art for art's sake" began to emerge, art being seen as an expression of the artist's emotions. Since then Hollywood has depicted such artists as Vincent van Gogh and Henri de Toulouse-Lautrec as glamorous yet tortured visionaries who suffered for their art, locked away in solitary garrets. Abstract artfollowed, and today almost anything goes.

What is design? Its roots are found in the Italian word disegnare, to create. In these days of designer jeans and kitchens, it is easy to think of design equating to stylish consumer goods or gadgets, made desirable by clever and knowing graphics (which draw ultimately on art for inspiration). We can forget that everything artificial—good or bad—has been designed by someone.

In its broadest sense, design is preparing for action: planning and organizing. We might have "designs" on someone, and plan how we can engineer a successful outcome. Architects design buildings, industrial designers design products, and artists design paintings and sculptures. This book looks at design in the easel-based arts, with references to the allied arts of photography and sculpture. By easel arts we mean drawing, painting, and printmaking, in the sense of making marks on paper or canvas, or the screen-based arts: video, computer, and installation-based works. The computer has blurred the boundaries between the traditional creative disciplines, but they all share a need for planning and visual organization.

Design can also be considered as a form of problem-solving. But unlike math, in art there is never a single correct solution. This is why artists and designers are often called "creatives." Painters and sculptors often set their own tasks; designers and illustrators are given a brief with strictly defined parameters, and attempt a design based on those constraints. Even in abstract expressionism, where you might imagine that all the artist does is throw a pot of paint at the canvas and hope for the best, there are underlying processes at work. The artist's eye and hand in tandem are guided by a need to produce an outcome, and he or she is informed by the whole history of art up until that point. Chance and randomness do have a place, but serendipity is a better term: you need skill and experience to turn a happy accident to your advantage.

It is beyond the scope of this book to provide a comprehensive overview of art history, but there are plenty of other books and web resources—some of which are listed toward the end of this book, should you be inspired to explore further. Nor can this book be an art appreciation guide, although understanding how and why artworks were created, what the artists were trying to achieve, and who their influences were will pay dividends when planning your own works. Looking should be the main education of every artist.

Design in the context of this book means, simply, composition. How do we place and arrange the various elements of design discussed in Part 1—of little use on their own-to create a unified and thoughtful piece of work that will interest the viewer? The way in which to go about this, using rules or principles, is outlined in Part 2. The many illustrations serve as examples, and as inspiration. Although the chapters are set out in a logical sequence, it is almost impossible to isolate a particular element—discussing line, for example-without mentioning its textural component. There will be some repetition and overlap, but perhaps the reader will recognize that all the elements and principles of design are equally important, and, once joined together in the right combination, they will result in a successful artwork. We describe them; how they are used is up to you.

Many people have contributed to the creation of this book. I should like to thank in particular Lee Greenfield for commissioning me to write it, my editor Richard Mason for his patience and eye for detail, my picture researcher Sue Bolsom for her tireless work and lateral thinking, and the designer Ian Hunt for assembling words and images into a harmonious composition. I should also like to thank friends and colleagues of the Brighton Illustrators Group, many of whom have contributed images, and the staff of Brighton University Library at St. Peter's House and of Brighton Public Library for their help in research.

Alan Pipes, July 2003

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)