Design Basics, Seventh Edition (with ArtExperience Online Printed Access Card)

321 Pages·2007·42.34 MB·English

by  David A. Lauer

CONTENTS | i
DESIGN
S E V E N T H E D I T I O N
BASICS
David A. Lauer
Stephen Pentak
The Ohio State University
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Design Basics, Seventh Edition
Lauer/Pentak
Publisher: Clark Baxter Senior Print/Media Buyer: Karen Hunt
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Editorial Assistant: Nell Pepper Cover/Text Designer: Marsha Cohen/Parallelogram Graphics
Development Project Manager: Julie Iannacchino Illustrators: Jamie Pentak, Craig Pentak
Executive Marketing Manager: Diane Wenckebach Rights Acquisition Account Manager, Images: John Hill
Marketing Assistant: Aimee Lewis Photo Researcher: Seidel Associates
Marketing Communications Manager: Heather Baxley Cover Art: Photograph by Ellen Page Wilson, courtesy of
Content Project Manager: Jennifer Kostka PaceWildenstein, New York; © Elizabeth Murray, courtesy
Executive Art Director: Maria Epes PaceWildenstein, New York
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Library of Congress Control Number: 2007935041
ISBN-13: 978-0-495-50086-5 Credits appear on pages 293–294, which constitute a continuation
ISBN-10: 0-495-50086-0 of the copyright page.
ABOUT THE COVER ART
ELIZABETH MURRAY
Bop. 2002–2003. Oil on canvas, 9(cid:2) 10(cid:3) (cid:4) 10(cid:2) 101/ (cid:3)
2
(299.7 (cid:4) 331.5 cm).
Elizabeth Murray was an infl uential American painter
(1940–2007) who lived and worked in New York. Her abstract
paintings are characterized by playful cartoon-like shapes
deployed in exuberant arrangements. Her work shows that
simplicity and complexity are not contradictory forces in
design. In 2005 Elizabeth Murray’s paintings were the subject
of a retrospective exhibition at The Museum of Modern Art
in New York.
To Debbie
CONTENTS
Part 1
DESIGN PRINCIPLES
C H A P T E R
1
DESIGN PROCESS 2
INTRODUCTION LOOKING
Design Defined 4 Sources: Nature 14
Sources: History and Culture 16
PROCEDURES
Steps in the Process 6 DOING
Thinking with Materials 18
THINKING
Doing and Redoing 20
Getting Started 8
Form and Content 10 CRITIQUE
Form and Function 12 Constructive Criticism 22
DOING
Comparison and Contrast 24
C H A P T E R
2
UNITY 26
INTRODUCTION UNITY WITH VARIETY
Harmony 28 The Grid 42
Visual Unity 30 Varied Repetition 44
Emphasis on Unity 46
GESTALT
Emphasis on Variety 48
Visual Perception 32
Chaos and Control 50
WAYS TO ACHIEVE UNITY
UNITY AT WORK
Proximity 34
Figurative and Nonobjective 52
Repetition 36
Continuation 38
Continuity and the Grid 40
vi | CONTENTS
C H A P T E R
3
EMPHASIS AND FOCAL POINT 54
INTRODUCTION DEGREE OF EMPHASIS
Attracting Attention 56 One Element 64
WAYS TO ACHIEVE EMPHASIS ABSENCE OF FOCAL POINT
Emphasis by Contrast 58 Emphasizing the Whole over the Parts 66
Emphasis by Isolation 60
THE ROLE OF PERCEPTION
Emphasis by Placement 62
Optical and Psychological 68
C H A P T E R
4
SCALE AND PROPORTION 70
INTRODUCTION SCALE CONFUSION
Scale and Proportion 72 Surrealism and Fantasy 82
SCALE OF ART PROPORTION
Human Scale Reference 74 Notions of the Ideal 84
Context 76 Root Rectangles 86
SCALE WITHIN ART
Internal Proportions 78
Contrast of Scale 80
C H A P T E R
5
BALANCE 88
INTRODUCTION 90 Balance by Texture and Pattern 102
Balance by Position and Eye
IMBALANCE
Direction 104
Horizontal and Vertical Placement 92
Analysis Summary 106
SYMMETRICAL BALANCE
RADIAL BALANCE
Bilateral Symmetry 94
Examples in Nature and Art 108
Examples from Various Art Forms 96
CRYSTALLOGRAPHIC BALANCE
ASYMMETRICAL BALANCE
Allover Pattern 110
Introduction 98
Balance by Value and Color 100
CONTENTS | vii
C H A P T E R
6
RHYTHM 112
INTRODUCTION PROGRESSIVE RHYTHM
Visual Rhythm 114 Converging Patterns 120
RHYTHM AND MOTION RHYTHMIC SENSATIONS
Shapes and Repetition 116 Engaging the Senses 122
ALTERNATING RHYTHM
Patterns and Sequence 118
Part 2
DESIGN ELEMENTS
C H A P T E R
7
LINE 126
INTRODUCTION LINE QUALITY
A Point Set in Motion 128 Creating Variety and Emphasis 138
LINE AND SHAPE LINE AS VALUE
Defining Shape and Form 130 Using Lines to Create Dark and Light 140
TYPES OF LINE LINE IN PAINTING
Actual, Implied, and Psychic Lines 132 Outline of Forms 142
Explicit Line 144
LINE DIRECTION
Horizontal, Vertical, and Diagonal LOST-AND-FOUND CONTOUR
Lines 134 Suggestions of Form 146
CONTOUR AND GESTURE INHERENT LINE
Precision or Spontaneity 136 Structure of the Rectangle 148
C H A P T E R
8
SHAPE/VOLUME 150
INTRODUCTION 152 NATURALISM AND IDEALISM
Nature Improved 158
VOLUME/MASS
Working in Two and Three ABSTRACTION
Dimensions 154 Essence of Shape 160
NATURALISM AND DISTORTION NONOBJECTIVE SHAPES
Exaggerated Shapes 156 Pure Forms 162
viii | CONTENTS
RECTILINEAR AND POSITIVE/NEGATIVE SHAPES
CURVILINEAR SHAPES 164 Introduction 166
Isolation or Integration 168
Emphasis on Integration 170
Confusion 172
C H A P T E R
9
PATTERN AND TEXTURE 174
PATTERN TACTILE TEXTURE
Creating Visual Interest 176 Actual and Implied 184
Order and Variety 178 Collage 186
TEXTURE AND PATTERN VISUAL TEXTURE
Similarities and Differences 180 Visual Impression 188
Trompe L’oeil 190
TEXTURE
Creating Visual Interest 182
C H A P T E R
10
ILLUSION OF SPACE 192
INTRODUCTION AMPLIFIED PERSPECTIVE
Translating Space to Two Dimensions 194 A Different Point of View 214
DEVICES TO SHOW DEPTH MULTIPLE PERSPECTIVE
Size 196 A Pictorial Device 216
Exaggerated Size 198
ISOMETRIC PROJECTION
Overlapping 200
A Spatial Illusion 218
Vertical Location 202
Aerial Perspective 204 OPEN FORM/CLOSED FORM
Linear Perspective 206 The Concept of Enclosure 220
One-Point Perspective 208
TRANSPARENCY
Two-Point Perspective 210
Equivocal Space 222
Multipoint Perspective 212
CONCLUSION
Complexity and Subtlety 224
C H A P T E R
11
ILLUSION OF MOTION 226
INTRODUCTION WAYS TO SUGGEST MOTION
From Stillness to Movement 228 Figure Repeated, Figure Cropped 232
Blurred Outlines 234
ANTICIPATED MOTION
Multiple Image 236
Seeing and Feeling Impending Action 230
CONTENTS | ix
C H A P T E R
12
VALUE 238
INTRODUCTION VALUE AND SPACE
Light and Dark 240 Using Value to Suggest Space 246
VALUE PATTERN TECHNIQUES
Variations in Light and Dark 242 An Overview 248
VALUE AS EMPHASIS
Creating a Focal Point 244
C H A P T E R
13
COLOR 250
INTRODUCTION COLOR AND SPACE
Color Theory 252 Color’s Spatial Properties 272
COLOR CHARACTERISTICS COLOR SCHEMES
Light and Color Perception 254 Monochromatic/Analogous 274
Influence of Context 256 Complementary/Triadic 276
PROPERTIES OF COLOR COLOR DISCORD AND VIBRATING COLORS
Hue 258 Unexpected Combinations 278
Value 260
COLOR USES
Intensity/Complementary Colors 262
Local, Optical, Arbitrary 280
VISUAL COLOR MIXING
EMOTIONAL COLOR
Techniques That Suggest Light 264
Color Evokes a Response 282
COOL/WARM COLORS
COLOR SYMBOLISM
Identifying Color with the Senses 266
Conceptual Qualities of Color 284
COLOR AS EMPHASIS
COLOR VERSUS VALUE
Color Dominance 268
A Continuing Debate 286
COLOR AND BALANCE
Achieving Balance Within
Asymmetrical Composition 270
GLOSSARY 288
BIBLIOGRAPHY 291
PHOTOGRAPHIC SOURCES 293
INDEX 295