ELEMENTS AND PRINCIPLES OF DESIGN. Grade 12

Transcription

1 ELEMENTS AND PRINCIPLES OF DESIGN Grade 12

2 CENTERED This is what many beginner photographers do. You are no longer a beginner. Do this some of the time, but not often. This works why? Discuss with a neighbour

3 Rule of line. Leads the person to look somewhere. Rule of 1/3 s the central part is centered horizontally, but vertically it used rule of 1/3 s. Rule of movement, the top looks like it s moving. Pattern.

4 This would get you an A, and make your teacher, really happy

5 RULE OF COLOR Don t have any reds in the background if the foreground is all blue. Warm colors come forward, cool colors recede. Also think of complimentary colors to bring out vibrancy.

6 SEE WHAT I MEAN? Digitalphotographyschool.com

7 COLOR WHEEL There are primary colors Complementary colors

8 COLOR RULES Analogous Triadic Split complimentary tetradic

9 RULE OF COLOR Complimentary Digitalphotosecrets.com

10 RULE OF COLOR Split complimentary.

11 CONTRAST - MONOTONE Monotone, 1 color. Note the details in the whites and the shadows.

12 MORE ON CONTRAST Hiverminer.com

13 NEGATIVE SPACE Negative space illustration. The blank space adds to the imagery. Gives it breathing room.

14 WHAT THE HECK DID THAT MEAN? Photos don t breathe. But images need room for the viewer to react. Another example Nothing else to look at so your eye goes to the lid and white line. Negative space forces the viewer to look at what you want them to look at. Erickimphotography.com

15 WHAT WILL CAUSE YOUR INSTRUCTOR TO GO BACK INTO BANKING Badbadbadgradphotos.com No. Please no. Heck no.

16 BALANCE Note how the larger item balances out the 4 smaller items. Equal value given as we stare at both sets equally.

17 BALANCE This works due to the overpowering red at the bottom, not as large as the blue but red comes forward, blue recedes so it works. We stare at the bigger blue and red design equally.

18 BALANCE Why is this balanced? Please discuss with a neighbor. Picturesocial.com

19 Each side is the same. SYMMETRY

20 SYMMETRY Symmetry is the same on both sides. Asymmetry has different sides. Photographyblogger.net

21 ASYMMETRY Not the same on both sides. Silvia Picello, artlimited.net

22 RULE OF 1/3 S The main part of the image is found in the 1/3 of the frame either horizontally or vertically. If both, bonus!!

23 Note where the main subjects are located. Lightroompresets.com

24 RULE OF 1/3 S WHY IS IT IMPORTANT? It forces you to look at the whole image, not just the center, ignoring the rest. It s how we see things. Eyes are pretty close to rule of 1/3 same with shells and many other nature type items.

25 EMPHASIS, MANY WAYS OF DOING THIS Blue hatchdesign.ca, eye stifmister22001.wordpress.com

26 EMPHASIS DONE THROUGH COLOR AND PATTERN Leighbardsley.deviantart.com

27 EMPHASIS DONE THROUGH FOCUS The closer you are to an object the shallower the depth. The longer your lens, the shallower the depth. The lower your f-stop the shallower the depth.

28 LIGHTING I m a stickler for proper lighting. Hand something like this into me, I will be a happy camper. I love this type of work.

29 MOVEMENT AND RHYTHM THIS IS OPTICAL MOVEMENT Stairs

30 A type of image that forces you to follow it s path. Your eye travels to focal areas of lines, edges, shape and color. We follow the sky that points to the roof of the barn. MOVEMENT USING A SHUTTER OF 43 SECONDS Photo mace2000 Digitalphotographyschool.com

31 REPETITION Works with pattern to make the object seem as though it is moving. below

32 PATTERN The repeating of an object all over the work of art. Same object. Static and looks as though this will continue beyond the frame. We assume it will go on and on and on.

33 Repetition and Pattern Digital-photography-school.com

34 RHYTHM Blue, One or more elements of design are used repeatedly. Encourages movement. But it ends, doesn t go on beyond the page.

35 As an element of design rhythm and pattern are similar in the sense that both are a form of repetition. hms-and-patterns.html Difference? rhythm encourages movement of the eye across the image. Pattern? Is more static and is most effective when it fills the frame making the viewer think it extends beyond the page.

36 UNITY Unity and harmony Colors all work. Lines are subtle Creating a sense of completeness, a sense of comfort.

37 UNITY Colors are all primary. This works Design is symmetrical. Usage of diagonal lines. complete

38 LINE AND DIAGONALS m ryazan.deviantart.com

39 WHY? Lines can lead to the main subject forcing the viewer to look at it closely. Have greater length than width. Forces to look at the whole image as your eye travels.

40 SHAPE AND FORM Starts as a form, ends in a shape Shape Sheriblog.com

41 DIFFERENCE? Form: Shape Has 3 dimensions where you see light and shadow differences. Has 2 dimensions.

42 TEXTURE Lightstalking.com Surface quality seen and felt.

43 TEXTURE

44 PROPORTION Example of not in proportion, but this works well. A sense of movement found. And am not all that concerned with proportion unless photographing a body for beauty purposes.

45 WHAT NOT TO DO Thinklink.com No. Just too cheesy.

46 COMPOSITION Complete the frame by cropping properly.

47 TERRIBLE COMPOSITION Why the space? It doesn t add to anything. Blown out sky.

48 FRAMING

49 GRADE 12 PHOTOGRAPHY ASSIGNMENT This will take you the rest of the week. You will work with a partner and each of you will photograph 12 of the elements of design listed in this lecture. You will shoot digital. MANUAL. Mrs. Gilder doesn t know what auto is. If you are unable to shoot Manual, see Mrs. Gilder. That is 12 each. The images need to be different from each other and I will need 12 different images.

50 A NO Easy peasy tricks. Just don t take bad shots. Photoeverywhere.com. Um gee no kidding.

51 Busy. Eye goes to the white first then gets frustrated. Eye doesn t know what to look at But I know you won t hand that into me now will you?

52 Didn t think so. Dombestlist.wordpress.com

53 PLAY IN LEVELS AND CROP OUT THE STUFF THAT ISN T NEEDED. IT REALLY IS A RESHOOT AS THE SO CALLED BETTER ONE ISN T ALL THAT GREAT EITHER. RULE OF PATTERN.

54 Levels are found in image/adjustments/levels. I overdid it though sorry.

55 HOW TO HAND IN Hand in both a RAW file and a jpeg. Your jpeg will be the one with your name on it. Lost? Step by step to follow Crop your item to around 8x10.5 inches, or 10.5x8 inches. 300 ppi Place your name at the lower right hand corner in either black or white, whatever shows up most. Name should read: Photo by: Your Name, Arial 14. Feel free to vignette. Mask the edges, feather, inverse, and lower exposure, or darken in levels.

56 Step 1 Manipulate in RAW, if an object, increase clarity, play in curves, vignette a touch. IMAGE BY DIGITALCAMERAWORLD.COM

57 Levels Vignette

58 VIGNETTE PART 2

59 Keywordsuggest.org Frankthephotographer.com DON T GO ALL 2006 ON ME WITH VIGNETTING

60 Do a vignette to force the viewer to look at your image. NOT HAVE THE VIEWER ASSUME YOU HAD A BROKEN LENS. This was what was in style in It isn t 2006.

61 GET TO WORK NOW

62 RUBRICS A B C D Mind blowing results. Used levels and composition well. Detail in whites and blacks, but excellent contrast and color sat. Not overdone. Original and creative thought in picking results. Picked out of 50 or so images and handed in 15 best. Had different element of designs each. Had 15. Went for the more difficult ones. Good results. Used levels and composition well. Details in blacks and whites, no blow outs. Good contrast. Not overdone. Thought was placed behind images chosen. Didn t hand in everyday items, had some creative thought. Had at least 12 results. Okay results. Didn t use post. Chose whatever found, did this rather quickly. Had only 10 results. Effort noted. Some effort noted. Not a lot of effort noted. Not completed. Or had less than 10 results. Automatic 0 Had the same images as someone else.