Shape Henri Matisse Jazz Icarus 1943 1 Shape
- Slides: 59
Shape Henri Matisse, Jazz: Icarus, 1943 1
Shape is space enclosed by a line. An object with the 3 rd dimension added to its shape creates volume, or illusory space. 2
Shape is space enclosed by a line A 3 -dimension object has volume, or “illusory space” 3
Shape is flat, existing in 2 D space An object in 3 D space does not have shape, but volume 4
The purpose of these icons is perceived by their shape We can determine an object no matter our point of view 5
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The subtle use of shape can enhance an image 7
The subtle use of shape
The subtle use of shape can also . . . be “used as part of the subject” “separate visual elements in an unobtrusive way” 9
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Shapes that are not the main image can be used to enhance design to: 1. Make the main image stand out 2. Balance the image 3. Move the viewer’s eye 4. Reinforce an emotional feeling Emil Nolde, "Kleine Sonnenblumen" (1946) 11
Shape Identification 1. Humans easily identify a wide variety of shapes. 2. Designers can exploit this human trait in many ways. 12
Kazimir Malevich, Suprematist Painting: Aeroplane Flying (1915) Oil on canvas, MOMA, New York 13
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Grouping within a Shape Grouping elements within a shape provides additional information to guide the viewer. 15
Summary 1. Shape is one of the most powerful elements of composition. 2. Humans easily identify shapes and associate them with real objects. 3. Shapes can be used to balance a design, create unity, create implied line, and serve as a container for other design elements 16
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Type: Kind of lettering used Arial Font: Specific type (size) used Arial 72 pt. 18
Anatomy of Type 19
Type Families Slab Serif Sans Serif Script Decorative Old Style Transitional Modern 20
Old Style 1. Derived from Roman inscriptions and Renaissance manuscripts 2. Remediated ancient process of hand-chiseling letters in stone 3. Characteristics: serifs, x-heights, diagonal stress, thick to thin strokes 21
Transitional 1. Emerged in late 1600 s and early 1700 s 2. Move toward modern style 3. Characteristics: Smoother transitions from thick to thin lines, vertical stress, less angular serifs 22
Modern 1. Emerged in the 1700 s 2. Possesses a more mechanical look 3. Charcteristics: Severe transitions from thick to think strokes, both thin and horizonal serifs, vertical stress 23
Slab Serif 1. Is also known as “Egyptian” because it emerged from interest in the culture 2. Characteristics: thick, squared serifs; subtle difference between thick and thin strokes 24
Sans Serif 1. Emerged in early 1800 s 2. May have developed out of Slab Serif 3. Characteristics: absence of serifs and a nearly uniform stroke 25
Script 1. Resembles cursive handwriting 2. Does not have universal features, save for showing continuity from character to character 26
Decorative 1. Also known as “Novelty Type” 2. Used to express specific style 27
Working with Type 1. Type must be legible 2. Too much distortion makes letters hard to read 3. Simple serif fonts are best for long lines 28
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Combining Type 1. Unity of design is important but also differentiate different kinds of text 2. Two criteria: Is it legible? Does it look good as part of the whole design? 30
Combining Type One way to avoid bad use of type by using one typeface but varying the size. Using different type in the same project can add emphasis to certain parts 31
Type Adjustments Kerning: the space between individual characters Leading: the space between lines Tracking: overall spacing between all characters 33
Type as an Element of Design Type is not an afterthought, but an integral part of the design since different types can convey different emotional qualities. 34
Legibility of Type 1. Pixelation affects type legibility. 2. Straight-backed types with no serif or with flat serifs work well in most designs 3. Larger characters are more legible 4. Contrast is particularly important for legibility on computer monitors 35
Compatibility If the font you used is not installed on users’ computers, users will not see the design you intended Use common fonts found on most systems, or convert type to image — but not if there is a lot of text, because then the file will be too large 36
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Summary 1. Typography is the arrangement, style, and appearance of text. 2. Type families have common characteristics such as use (or not) of serifs. 3. Typography is not an afterthought, but an integral part of design. 4. Type must — above all — be legible. 38
Style Marie Laurencin, Ballet Dancers, 1935 Edgar Degas, L'etoile [La danseuse sur la scene], 1878 39 Henri de Toulouse-Lautrec, Marcelle Lender Dancing the Bolero in "Chilpéric, " 1895– 96
Two Definitions of Style Donna Leishman, Red Riding Hood, 2004 Donna Leishman, The Possession of Christian Shaw, 2000 Style as technique: treatment of the visual elements of a design to give them a certain look 40
Two Definitions of Style as an artistic movement: identifies a design within a recognized historical period in art, e. g. , Art Deco or Renaissance Franz von Stuck , Salome, 1906 Benozzo Gozzoli, Dance of Salome, 1461 -62 41
Style as Technique Particular techniques can have strong associative qualities that add to the meaning of the message. 42
Use of a particular style (as technique) in new media design creates a theme. You can use an existing context to convey a message or create your own new context. Style as Context 43
Style as an Artistic Movement Many artistic movements began as experiments in style as technique; most are based on specific philosophies. Prominent modern styles include impressionism, abstract expressionism, pop art, art deco, cubism, surrealism. 44
Abstract Expressionism Jackson Pollock #18, 1950 45
Realism Gustav Corbet, Self Portrait with Pipe Gustav Courbet, Goodday Mister Courbet , 1854 46
Impressionism Claude Monet, Water Lilies, 1906 47
Pointillism Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884 48
Cubism Pablo Picasso, Woman Playing the Mandolin, 1909 49
Futurism Self-Portrait Umberto Boccioni, A strada entra nella casa, 1911 50
Art Deco Erte, Arctic Sea 51
Surrealism Salvador Dali, Corpus Hypercubus, 1954 52
Dada Marcel Duchamp, Fountain 1917 53
Pop Art Andy Warhol, Marilyn Monroe (Marilyn) (Il. 31), 1967 54
Abstract Formalism Ellsworth Kelly, Yellow with Red Triangle, 1973 55
Minimalism Donald Judd, “Untitled, ” 1971, UGallery
Creating Style The tools you use affect the appearance of the style. Matthew Barney, Cremaster 3, 2004 Certain software programs do certain kinds of styles well. 57
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Summary 1. Style can refer either to technique or to an artistic movement. 2. Particular stylistic techniques can have strong emotional associations. 3. Artistic movements are associated with particular uses of style as technique. 4. Always choose the right tool(s) for the style you want to achieve. 59
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