Principles of Design Some PRINCIPLES OF DESIGN SCALE
- Slides: 54
Principles of Design
Some PRINCIPLES OF DESIGN SCALE PROPORTION BALANCE – symmetry/asymmetry EMPHASIS CONTRAST FOCAL POINT REPETITION VARIATION
SCALE - the size of a work compared to the environment: miniature, human, monumental.
Claes Oldenburg, Knife Ship I, 1985 Vinyl-covered wood, steel, and aluminum with motors, dimensions variable, maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.
Miniature Leaf from Futuh al-Haramain (Description of the Two Holy Cities of Mecca and Medina), mid -16 th century; Ottoman, 8 x 5 in.
a bit bigger. . .
Georgia O’Keefe on scale & flowers: Nobody sees a flower—really—it is so small —we haven’t time—and to see it takes time, like to have a friend takes time. . So I said to myself—I’ll paint what I see—what the flower is to me—but I’ll paint it big. . I will make even busy New Yorkers take time to see what I see of flowers.
Geogia O'Keeffe Jimson Weed 70 x 84 in Scale has to do with the size of the work itself
PROPORTION
Leonardo: The Last Supper, 1498
Diego Rivera, The Flower Carrier, 1935, 48 x 48 in.
Joseph Mallord William Turner British, 1775– 1851. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840
Shahn, Ben, Vacant Lot, 1939 Watercolor and gouache on paper mounted on plywood panel, 19 x 23 in
Carlo Crivelli Venetian, c. 1430/1435 - 1495 Madonna and Child Enthroned with Donor, 1470 tempera on panel, painted surface: 125. 3 x 50. 7 cm (49 5/16 x 19 15/16 in. ) including unpainted margins: 129. 5 x 54. 4 cm (51 x 21 7/16 in. ) donor
BALANCE symmetry EQUILIBRIUM
TEXTBOOK p. 192 Leonardo da Vinci, Proportions of the Human Figure (“Vitruvian Man”)
Shiva, bronze temple sculpture, Chola Era (9 th-13 th C. ), South India
Durer Dancing Peasants 1514
Master of the Saint Lucy Legend Bruges, active c. 1480 - c. 1510 Mary, Queen of Heaven, c. 1485/1500 oil on panel, painted surface: 199. 2 x 161. 8 cm (78 7/16 x 63 3/4 in. )
Frida Kahlo, The Two Fridas, 1939
Alfred Sisley, The Chemin de By through Woods at Roches. Courtaut, St. Martin's Summer, 1880
Assymetical balance?
Assymetical balance?
H. H. Richardson 1880 -1883 Crane Memorial Public Library Quincy, Massachusetts
EMPHASIS accent
David Hockney, Portrait of an Artist (Pool with Two Figures), 1971
not a good example of EMPHASIS Andy Warhol, Orange Disaster No. 5, 1963
CONTRAST
Martin Munkacsi Black Boys on the Shore of Lake Tanganyika (1931) photograph
Night Attack on the Sanjo Palace (detail) Japan, Kamakura period, second half of the 13 th Century Handscroll; ink and color on paper 16 1/4 x 275 1/2 in.
David Hockney, Portrait of an Artist (Pool with Two Figures), 1971
Contrasts & Oppositions in Hockney’s Portrait of an Artist • Diagonal/horizontal • Straight/curved lines • Air/water/Earth fire? • Natural/artificial • Clothed/(nearly) naked • Tint/shade (light/shadow) • colors What is the psychological relationship between the two men? Which of them is the “artist” in the title? Is it two sides of one person, the “artist”?
Degas Waiting
Contrasts in Degas’s Waiting (1882, pastel) WHITE – BLACK COLOR – NO COLOR OPEN – CLOSED YOUNG – OLD PERFORMER – SUPPORTER BUSY – EMPTY INWARD GAZE – OUTWARD GAZE
Focal Point
Broad, plain areas contrast with tangle of fingers Rogier van der Weyden Netherlandish, 1399/1400 - 1464 Portrait of a Lady, c. 1460 oil on panel, painted surface: 34 x 25. 5 cm (13 3/8 x 10 1/16 in. ) panel: 37 x 27 cm (14 1/16 x 10 5/8 in. )
White-on-white, but what animal nature lurks? James Mc. Neill Whistler American, 1834 - 1903 Symphony in White, No. 1: The White Girl 1862 oil on canvas, 213 x 107. 9 cm (83 7/8 x 42 1/2 in. )
Appropriate clothes? John Singer Sargent American, 1856 - 1925 Nonchaloir (Repose), 1911 oil on canvas, 63. 8 x 76. 2 cm (25 1/8 x 30 in. )
Rhyme in poetry The world is too much with us; late and soon, Getting and spending, we lay waste our powers; Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon, The winds that will be howling at all hours, And are up-gathered now like sleeping flowers, For this, for everything, we are out of tune; It moves us not. --Great God! I'd rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn. William Wordsworth, “The World Is Too Much with Us” (1807)
Andy Warhol, Orange Disaster No. 5, 1963
Eadweard Muybridge, photographer
Monet Poplars. . .
Monet Poplars. . .
Monet Poplars. . .
Charles Demuth, The Figure 5 in Gold, 1928
Cimabue, Madonna Enthroned, 1280 -90 TEXTBOOK p. 185
VARIATION: the alliance between repetition and surprise The extensive poem, moreover, satisfies another two-fold requirement, one that is closely related to the rule of variety within unity: repetition and surprise. Repetition is a cardinal principal in poetry. Meter and its accents, rhyme, the epithets in Homer and other poets, phrases and incidents that recur like musical motifs and serve as signs to emphasize continuity. At the other extreme are breaks, changes, inventions - in a word, the unexpected. What we call development is merely the alliance between repetition and surprise, recurrence and invention, continuity and interruption. Octavio Paz, “Telling and Singing” in The Other Voice
The Four Evangelists, from the Gospel Book of Charlemagne, early 9 th century TEXTBOOK p. 135
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