Design Theory & Techniques

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1 Design Theory & Techniques An Academic Decorative Art Seminar with Mary Gibilisco CDA, BFA Perfection A designer has achieved perfection not when there is nothing left to add, but when there is nothing left to take away. -Antoine de Saint-Exupery Prerequisite We should be aware before we start, that the art of work precedes the work of art. -John D. Engle, Jr. The secret of creativity is knowing how to hide your sources. -Albert Einstein One ought never to forget that by actually perfecting one piece one learns more than beginning or half finishing ten. Let it rest, let it rest and keep going back to it and working at it over and over again until there is not a note too much or too little, not a bar you could improve upon. Whether it is beautiful also is an entirely different matter, but perfect it must be... perfected, unassailable. -Johannes Brahms

2 There are no rules in art - merely guidelines. This workshop will explore these guidelines which can help guide you toward more productive creativity. What is Design? Design is also known as problem solving. It is the opposite of chance. Design is the planned arrangement of elements to form a visual pattern. What is Art? Art has always been and always will be a means of communication. But how does one get an idea? By Thinking, Looking and Doing. These three activities are not independent but overlap and are interwoven. What is Line? Line is important because it delineates or defines shape. Strong lines surrounding areas give clarity and definition to a work while lost and found lines (areas that appear to disappear into the darkness of the background) give the illusion of both mystery and excitement. What is Shape? A shape is a visually perceived area created either by an enclosed line or by colour and value changes defining the outer edges. A shape can also be called a form. Design is basically the arrangement of shapes. Line's role in design is to delineate shape. In designing, look beyond the interesting subject matter to the basic element of shape. In design, seeing shapes is primary; reading their meaning is interesting but secondary. There is both negative and positive shape. Positive shape is defined as the subject matter while negative space is what is left over or background. Both elements must be thoughtfully planned by the artist. Positive and negative shape must have something in common so that they appear unified. One way is to repeat colour in both areas so that they share a visual link. Another choice is the artist can plan the space so that the eye moves from one object to the next through value. The color of the objects may vary but value of the objects is similar so that the eye is coaxed to move from one object to the next. What is Value? Value refers to the relative lightness or darkness of a colour. In design, a value pattern is often used. This is the arrangement and amount of variation in the lights and darks independent of colours used. What is Rhythm or Movement? Rhythm is often thought of in music but there is also visual rhythm. Here the concept refers to the movement of the viewer's eye as it moves across a design. Rhythm is based on repetition of objects within the composition. What is Texture? In painting, artists can create the impression of texture on a flat, smooth surface. By reproducing the colour and value patterns of familiar textures, painters can encourage us to see texture when none exists. This is called visual texture. One of the pleasures of still life painting is that of visual texture. As many still life paintings are merely visual delights, the artist can take great joy in playing one texture against another. This is especially true in the trompe l'oeil type of painting. Trompe l'oeil is French for fool-the-eye. The artist copies the exact colour and visual pattern so meticulously as to momentarily fool the viewer into thinking the object is real. Upon closer examination the trick is revealed that it is actually just skillfully rendered image. Page 2

3 Know your Lines Horizontal Lines (passive, calm, restful, peaceful) Zig-Zag Lines (excitement, animation, constant motion, agitation) Vertical Lines (poised, majestic dignified, still but more energy than horizontal) Fragmented Lines (elevated energy, force, nervous excited) Diagonal Lines (increased energy and tension over horzontal or vertical. Because we read right to left, lines that pulls us that way have less tension than the opposite. ) Spiral Lines (high energy, conflict - graceful if controlled) Flowing Lines (rhythmic, calm, creates the feeling of continuity or sweeping movement) Converging Lines (points to focus area) Page 3

4 Rounded Form (graceful and calm) Angular Form (excited) Shapes Organic Negative Space Geometric Page 4

5 The shapes above can be used to either create harmony within a composition or create variety. The shapes closest to each other give a feeling of harmony. As the shapes move farther away, a feeling of contrast a conveyed. Through contrast, opposites are intensified and derive their meaning. Contrast is like garlic; its use is determined by individual taste. Some prefer subdued and muted harmony; others demand strong opposition. Page 5

6 Form Value Creates Form The attached photograph illustrates that the value of the paint will influence the dimension of the object. One of the first concepts of painting that must be understood is that Value Creates Form. The outline below of colour placement should serve as a fairly accurate guide to the placement of values for the four basic shapes. These charts are quite simplistic and meant to be only a starting point to understand how to create form. Almost anything can be related to one or a combination of these shapes. When proper value placement is combined with good blending skills the results can be rewarding. However, do not permit the painting process to become too much of a formula or the loss of creativity could result. Reference the diagram of basic art forms. Value Placement for the Basic Art Forms M D Page 6

7 Form Draw the forms here and shade each one according to an upper right hand light source. Page 7

8 Value Page 8

9 Balance in a design Besides the harmony, variety and focal area aspects in a work, one must consider how to achieve balance. A sense of balance is inborn - lack of balance disturbs us. Horizontal balance is more important to achieve in a design vs. vertical balance. Due to gravity, we like to see more weight at the bottom of a composition. Balance by shape and texture As the diagram shows, the two elements are of same value and texture. Difference is shape. The smaller form attracts more attention due to more complicated contours. Balance by value and color As the illustration shows, a smaller amount of black is needed to balance a large amount of grey. Balance by value is a valuable tool allowing a great difference of shapes on either side of the center line and still achieve equal eye attraction. Balance through position As the illustration demonstrates, large items moved closer to the center of the composition are balanced by smaller item placed near edge. Page 9

10 Balance Exercise: Review the previous photo illustrations and determine how the balance is achieved. Write this information in the space provided below. Ways to Show Depth In a two dimensional art such as painting and drawing, the artist often wants to convey a feeling of space or depth. Here space is an illusion, for the images created are actually flat or two dimensional. There are many ways to show depth in a flat work by using such devices as size differences, overlapping and perspective. Size The easiest way to create an illusion of depth is through size. Very early on we realize that as things move away from us they become smaller. In the illustration, the smaller squares automatically begin to recede. Therefore, one way to create an illusion of distance or depth is to have the closer objects larger and farther away objects smaller. Overlapping is a simple device for creating an illusion of depth. Compare the two illustrations. In the first one, we have no way of judging their spatial relationship or which object is in front and which is in back. In the second illustration, the relationship between the objects is immediately clear due to overlapping. A sense of depth is established. Overlapping Page 10

11 Design Concepts What is Unity? A good design contains unity. Unity is the presentation of a unified or harmonious image. Do not confuse intellectual unity with visual unity. In other words, the objects might not make an appealing design just because they have something in common such as memorabilia from your last vacation. Theme can guide a composition but the objects must be harmonious visually. The whole must be predominant over the parts. In general, it is more pleasing to see the overall pattern before noticing the individual elements. The Four Colored Bottle Study shows unity. The bottles are of similar shape, texture, size, and value. How to achieve unity in a work using Four Colored Bottles example: Proximity: Make separate objects appear as if they belong together. Move objects closer together so that they appear as a unit. The bottles overlap so that they appear as a unit. Repetition: Repeat something in various parts of the design that relates parts to each other - color, shape, texture, direction, angle. The bottle composition contains repetition in shape, texture, and direction. Each bottle has a similar shape with a neck, lip and body. Each has a smooth texture. Each bottle has a vertical orientational direction which is repeated in the window supports. Continuation: Something continues (line, edge, direction from one form to another) In the featured composition, the back table line connects each shape to the next. Page 11

12 Unity Exercise: Using the basic shapes of a circle, rectangle, triangle and square create a small design showing unity in the space provided. (It is not necessary to use all of the shapes) Review the previous guidelines and illustrations to the right to guide you in creating a harmonious design. Unity Exercise Illustrations of Unity Page 12

13 Unity with Variety Unity with variety is the next step in the design process. It is used to avoid total harmony and visual boredom. Shapes repeat but in different sizes. Colors repeat but in different values and intensities. Textures are varied but repeated. A work needs a correct balance between control and spontaneous freedom. The piece Study in Blue serves as an illustration of this concept. Many textures are depicted: smooth ceramic and nubby fabric, rough wood and smooth tin but notice the repetition. The rectangul shape of the surface is repeated in the tin, shaker box, and candle. The angles is relieved by the knob, bittersweet and baby's breath. But it is the round vs. the square that creates the variety. If all round objects had been used, the composition might have become boring. The colors have been repeated but in varying degrees of intensity and value. The first step in creating a design is harmony. But, complete harmony is monotonous so variety must be introduced. Illustration of Unity with Variety The illustration on the right resembles a checkerboard (a very unified design) but it is much more visually interesting. The interest comes basically from an application of the unity with variety principle. The varying sizes and shapes of the rectangles, the subtle placement of the thickness of the black lines, the irregular placement of the colored shapes - these all serve to hold our interest much longer than a simple checkerboard design. Page 13

14 Unity with Variety Exercise: Using the basic shapes of a circle, rectangle, triangle and square create a small design showing unity with variety in the space provided. Review the above guidelines and illustrations to create a unified yet varied design. Unity with Variety Exercise Emphasis and Focal Area Emphasis through contrast The artist job is to capture attention and provide visual satisfaction. One of the best devices to achieve this goal is to create a strong focal area. There are many ways to create emphasis. One is through creating strong contrast in shape, value, texture and color with its surrounding. A general rule is that a focal area is created when elements differ from the others. Examining The Old Dutch Master Style Still Life shows this technique. The focal area is the area surrounding the white camellia. This area is in contrast to its surrounding through: Color: Texture: Shape: Value: Intensity: Line: Yellowish camellia surrounded by violet Smooth flower surrounded by textural leaves Flowing petals surrounded by angular leaves and petals Light value in dark section Bright against dull Defined edges of flower vs diffused edges Page 14

15 The other objects in the composition contrast with their surroundings also. But notice as the objects move farther away from the focal area, they contrast less with their surroundings. For example, notice the marble, leaves and flowers toward the outside edges of the composition. These objects are far removed from the focal area so consequently there is very little contrast with its surroundings. They just fade into the background. Emphasis through isolation Another way to create emphasis is through isolation. When one item sits apart from other elements, it becomes focal point. It is through the contrast of placement and not necessarily through form. However, try to avoid placement in the center or near an edge. Emphasis Exercise: Using the basic shapes of a circle, rectangle, triangle and square create a small design showing emphasis through contrast using the space provided. Review the above guidelines and illustrations. Page 15

16 Perspective: Theory & Techniques Academic Decorative Art Seminar with Mary Gibilisco CDA BFA Deal with nature through cubes, spheres and cylinders, everything in the right perspective. -Cezanne in 1904 If you cut out illusion, then painting becomes completely real. -David Hockney Exactitude is not truth. -Henri Matisse Page 16

17 Perspective: Constructing Planes and Cubes What is perspective? It is the science of painting and drawing so that objects represented have apparent depth and distance. Perspective is a complex subject. However, for still life drawing it is necessary to know just a few basic rules and vocabulary: The horizon line is the eye level of the artist/viewer. This line changes as the viewpoint is raised or lowered which allows the viewer to see more or less of the plane depicted. The vanishing point is the point on the horizon line at which parallel lines seem to meet. In a still life, it is very rare that the vanishing point is actually on the picture plane due to the fact that the objects are relatively close to the viewer. There are two main rules of perspective: One, all straight lines are straight. Often in photography straight lines bend due to camera lens distortion. Two, all verticals are always vertical in relationship to the picture plane. In still life there are two types of perspective: One point and two point. One point perspective occurs when all parallel horizontal lines converge or meet at a single point. The viewer is parallel to the cube. A practical application is a drawer coming out of cabinet or railroad tracks. If a corner or leading edge is not present, it is one point perspective. When an object is observed from a fixed viewpoint and the eye-level is constant, the illusion of from and space is made more convincing if converging lines move away from the position of the onlooker toward a single vanishing point. This is based upon the fixed central viewpoint, which relies on the optical impression that parallel lines converge toward a singe point. Figure 1 shows the conceptual view. The plane is larger at the top and smaller at the base, and the middle line is shorter than the sides. This is based on our common sense, that to place objects on a box top, the top must be large, and to put a box on the floor, the box must be flat at the base. Figure 2 shows the actual view. The planes are equal at the top and base and the middle line is the same size as the sides. This is based on the way a box is made by machine with equal sides. Figure 3 is the perceptual view. The planes are smaller at the top and larger at the base and the middle line is taller than the sides. This is based on a static viewpoint in which the eye level is fixed and constant. The perceptual view ties up with the way that planes get larger away from the eye level. Also, it coincides with the evidence observed when viewing the open box. It means that this view comes the closest to the truth of seeing. The middle line is taller, so will appear nearer to the onlooker, with angles seeming to converge back from the picture plane to give perspective. In two point perspective there are two sets of parallel lines and two vanishing points. The two vanishing lines occur not because the cube shape has changed but the viewer's angle or vantage point has moved. The viewer can now see the leading edge or corner of the cube. This type of perspective also is vital in still life drawing. See page 3 for an pictorial explanation of the concept. Fig. 1 Fig. 2 Fig. 3 Page 17

18 Perspective: Ellipse An ellipse is a circle seen in perspective To view an ellipse, pick up a coffee cup. Look straight down on the round opening - it is perfect circle. But if you change the view of the cup slightly by moving it above or below your eye level, the circle becomes distorted, foreshortened or seen in perspective. Fig. 1 Fig. 2 Fig. 3 Be aware that there are three ways to view an ellipse. Figure 1 shows the conceptual view. According to this, the ellipse is larger at the top and smaller at the base. This is based on our awareness that the top must be round so that we can drink from it and the bottom must be flat so as to rest on a table. Figure 2 shows the actual view. Ellipses are equal at top and base and the middle line is the same size as the sides. This view is based on the way a cylinder is made; it would be impossible to manufacture it in an uneven shape. Figure 3 shows the perceptual view. In this, the ellipse is smaller at the top and larger at the base and the middle line is taller than the sides. This is based on a static viewpoint which maintains that the eye-level is fixed and constant. The perceptual view ties up with the way that ellipses get larger away from eye-level. It means that this view comes closest to the truth of seeing. The middle line being taller will appear nearer for the onlooker. To create an illusion of form, shapes are distorted to appear like the subject. The actual view is the true one Page 18

19 because of its exactness, but artist have used both perceptual and a conceptual version of the truth in order to give twodimensional representation a convincing sense of depth and illusion. Ellipses can be drawn by first drawing a cube in perspective and then adding the elliptical shape to the interior as seen in Figure A. First one finds the center of the box by drawing a line from one corner of the box to the other and then repeating on the opposite corner. That finds the perspective center of the box. Then add two more lines dissecting the perspective center. Then to actually draw the ellipse shape, sketch in a curve that touches the perspective square where each these new lines intersects the square. All of this information is given to make you glad you now have a template to accomplish the same task! The next example shows the effect of the viewer s eye level on the ellipse shape. Exactly at the viewer s eye level, the ellipse appears as a straight line. Slightly above or below eye level, there is a great deal of distortion. The distortion decreases until the ellipse again appears as a circle. In order to create proper elliptical shapes, view Figures C and D. Figure C shows the common mistakes that people make when drawing ellipses/cylinders. Top: Frequently an ellipse is drawn as if it were shaped like a football, a loaf of bread or a hot dog. An ellipse is a circular shape therefore there should be no flat areas or points as neither of these exist on a circle. Bottom: The upper circle of the cylinder is drawn with the same foreshortening as the lower circle. The lower circle should be slightly wider since it is farther away from the eye level. Also, notice the ellipses form a football shape on the outside edges. The use of the template can help correct these errors. On the template, there is a vertical and horizontal line through each shape. This will help assure that the ellipse is sitting on your object straight. For example, if you are drawing a crock and have proven the sides for symmetry, the vertical line will line up with your fold line. Or either of these lines must parallel to the table line that houses the still life objects. Eye Level Figure C Figure D Page 19

20 Step by step 2 point cube perspective (below eye level) 1. Draw the eye level of the viewer/artist. The artist determines this. 2. Add the vanishing points - these are always placed on the eye level. These are determined by how close the viewer is to the subject. For example, if the viewer is far from the subject as in a landscape, the vanishing points may appear on the picture plane (i.e. your piece of paper, canvas or surface) but if the viewer is close to the objects as in a still life, the vanishing points are in the far distance. For the ease of this exercise, the vanishing points may be placed on the picture plane. 3. Draw the vertical edge nearest the viewer. This is also known as the leading edge. This determines the height or width of your cube. (i.e. the thickness of a book, box, pedestal, mirror stand) The artist must determine this thickness. Verticals are always vertical! 4. Now add dotted lines that show where each side of the cube will vanish. As illustrated, the left side of the cube will vanish to the left vanishing point and the right side of the cube will vanish to the right vanishing point. 5. Add the vertical lines that form the back corners of the cube. These lines fall within the receding dotted lines. These lines representing how long or the length of your cube. The artist must determine this measurement. 6. To find the back edge of the cube, draw a line from the left back corner to the vanishing point at the right. Draw another line from the right back corner to the vanishing point at the left Page 20

21 Step by step ellipse in cubes perspective (below eye level) 1. Review page 5 for how to draw a cube in perspective. 2. Next draw the diagonals of the square and the lines that divide the square so as to find the center of the box. 3. Add two more lines dissecting the center of the box (where the lines cross over in figure 2). This lines must go to the vanishing point. Where these lines touch the outside of the square are called tangent points Add more tangent points on the lines drawn in step 2. These points are placed approximately 1/3 of the way down the line. 5. Then to actually draw the ellipse shape, sketch in a curve that touches the perspective square so that the curving line touches each tangent point. 6. Example of a cylinder shape Page 21

22 Examples of the use of cubes and ellipses Page 22

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