ART 1113-TWO-DIMENSIONAL DESIGN



ART 1113-TWO-DIMENSIONAL DESIGN – SPRING 2012

INSTRUCTOR-MARLIN ADAMS

OFFICE: Room 234 - Fine Arts Building

PHONE: 678-359-5301

WEB URLs:









E-MAIL: m_adams@gdn.edu

OFFICE HOURS: Posted on office door

DATE OF FINAL – Thursday, May 3rd at 10:15 – 12:15 PM.

PREREQUISITE: None

TEXTBOOK: None

CATALOG COURSE DESCRIPTION: A Studio course concerning the fundamentals of art with emphasis on two-dimensional concepts.

COURSE CONTENT: Elements of Design will be explored in a variety of media. Students will be assigned design projects selected to stimulate perception of harmonies and principles of design. Assignments covering the elements of line, shape, value, color, and texture will be given the student to develop sensitivity in their use.

In this course we will start at a basic level with a very restricted window of opportunity. It is important in creative problem solving to open that window as wide as your restrictions allow. Through the semester there will be three different distinct issues involved on all assignments.

1) The first is conceptual.

2) The second is aesthetic.

3) The third is technical presentation.

Design is based on intuitive and scientific principles. It is judged on a highly subjective basis which is bound to be agitating to some students but do not mistake a statement of satisfaction or liking for ultimate success in design. You must look for the very best solution for a visual problem.

It can be easy to do a piece judged visually interesting or creative to the untrained eye. It is much more difficult to interest the trained eye that has seen a lot of images, has extensive experience and information concerning the construction and evaluation of visual materials, and has contemplated those images over a longer period of time. Try to work at that level.

COURSE OBJECTIVES: 1) To give the student a general understanding of the basic fundamentals of design. 2) To familiarize the student with the concept of design as a part of every day life. 3) To provide the student with a vocabulary of design terms and techniques.

4) To develop the student’s design skills through practice in the creative process.

METHODS OF INSTRUCTION: 1) Lectures 2) Power points, DVDs, slides, photographs 3) Demonstrations by the instructor. 4) Individual instruction and supervision on projects done in class. 5) Class participation through discussions, critiques and exhibition of student work.

EVALUATION: Class grades will be derived from the projects and the mid-semester and final tests that will be given during the semester. Project and test points will be accumulated to determine your final grade in the class. Student improvement is so extremely varied that grading must be based primarily upon effort, following of instructions, completion of assignments and attendance.

ATTENDANCE: Regular and punctual attendance in classes and labs is required. Five absences will be an automatic 20 point deduction from your grade. Ten absences after the official add/drop period will be an automatic failure. I will take roll only once at the beginning of class. If you are not here when your name is called, you will be counted absent unless you get the instructor to mark you tardy. Three tardies will constitute an absence. Showing up without your working materials will constitute an absence and you will be dismissed from class. No excuses will be accepted since I cannot judge which students are honest with me and which are not. The roll will not be changed at a later date. Perfect attendance will be rewarded with 10 points toward your final grade.

ART CLASS & LAB RULES:

1. Students must clean their work areas before leaving the lab.

2. No radios or headsets during class time.

3. DO NOT TOUCH STILL LIFE SET UPS IN THE CLASSROOM.

4. We will rotate the responsibility of cleaning up the counters, sinks and floors on a weekly basis in alphabetical order. The person assigned may remind a student to clean his area.

5. The instructor will not be responsible for projects or materials left behind after the semester ends.

OFFICE HOURS: The office hours of the instructor will be posted on his office door. The instructor will be available for student counseling during office hours or by appointment. During listed office hours, the instructor might also be found in studio classrooms. The art student should feel free to discuss art projects with the instructor at any time during the labs.

ACADEMIC DISHONESTY POLICY: Plagiarism (the presentation of someone else’s work as one’s own) and cheating (dishonesty or deception in fulfilling academic requirements) will not be tolerated. Any act of academic dishonesty by a student may result in a grade of F for the relevant assignment.

SUPPLIES:

Please put your name on all your art supplies to avoid identification problems.

Sketch pad 18 x 24”

Cold Press Illustration Boards 15 x 20”. You can get 30 x 40 boards and cut them into 4.

18” stainless steel ruler

Black markers

Prismacolor or equivalent colored pencil set

5 (#2) office pencils, 3H, 2B, and 4B Drawing Pencils

Kneaded and Pink Pearl erasers

Compass

Acrylic paints or pastel set

These materials should be kept available in the classroom.

NOTE:

I want you to spend some time doodling. It will increase your idea repertoire. Did you know that doodling during a lecture actually increases your retention? It does. So if you are not taking meaningful notes, doodle! Teachers will think you are taking down every word.

Another way to get ideas will be to look at designs in fabrics, books and in nature for ideas.

TENATIVE GRADED PROJECTS:

1. Black and White Patterned Biomorphic Rhythm Design: A “biomorphic” shape is a shape that is suggestive of living organisms. A curvilinear or animated, articulating line is suggestive of living organisms as compared to “rectilinear” or straight lines.

This project will be done in either a completely opaque black India Ink or markers on a 15 x 20” white illustration board backing. If you choose to use India Ink or black acrylic paint, it may be a challenge to visualize what will be white or black without shading in your drawing with your pencil in the planning stage. The goal of the project is to develop the concept of the dualism of harmony and variety in a rhythmic design. Search your own mind through careful and deliberate consideration and various possible sources of inspiration for a type of shape to be used in a patterned rhythm design. Then you must sketch possible designs on paper in order to find a pleasing arrangement to be used in your final completed project. On a rectangular piece of white illustration board, you will sketch or trace the arrangement and fill in the designated black areas of your design with India Ink. Make your blacks as opaque as possible.

Conceptual Issues: You should work to develop a visual structure or composition to this piece that has a similarity of line element throughout. Compose the visual contents of the two-dimensional space to produce a composition that is visually provocative, arresting and engaging for the viewer. You should be excited to engage the viewer’s interest and attention. It is important to develop a depth of information about various visual tools that are available to the artist. The restrictions of simple black and white forms may seem like an extreme limitation. The task is to not allow the final pieces to look restricted. Consider the tension you can create by bringing two edges very close together to create a white line (negative space) or making two corners just touch to create a visual tension. Continuing a pattern accomplishes one thing. Breaking a pattern accomplishes another. You should experiment. Try to zig where you think other students are going to zag. Someone can probably make a solution to any problem exciting. Your job is to do the exciting one. We will show samples of similar projects to get your mind going in a creative direction.

2. Patterned Rectilinear Rhythm Design: This project is similar to the above design, except that the lines used in this design will be straight lines or geometric in nature and the medium will again be Marker Ink on illustration board. Remember the possibilities of flip flopping the positive and negative shapes as a device for creating a dominant center of interest. After a drawing of the final design has been made, it can be transferred by the use of graphite paper to the illustration board if it is the same size; otherwise, be very careful not to lose any aspects of your design while enlarging for the filling-in process with India Ink. Make sure that the lines are neat, straight and that the corners are cleanly produced. If they are not done correctly, redraw the lines on another board and start over.

3. Stippled Value Drawing: (HOMEWORK) This project is to be a realistic rendition of an animal, fish or insect form done entirely with a heavy pen or felt tip marker dots on illustration board. The object of this design project is to develop a great range of value modeling with a restricted technique. Draw out your project lightly in pencil to establish its form. The pencil can be removed later with a kneaded eraser.

Be careful not to drag your instrument as you make your dots so that the dots stay crisp and clean. Remember that even though the motif may be realistic or fancifully modified realism, the size relationships, the contact with the edges, and the use of positive and negative shapes will make or break your composition. Fill the format with a photographic value pattern. The size of this project may be reduced to a 12 x 16” since it takes so long to fill a large format with dots.

4. Organic Contour Line Drawing with the Addition of Color: The student will do a design somewhat similar in effect to the first project except that this is primarily a line design with the addition of color. You are to apply what you have learned about color schemes to achieve pleasing color combinations as well as an exciting design. The student will do contour line drawing with enclosed shapes that can be filled in with color. The shapes could be taken from an organic plant or leaf form. Black and white spaces may be used sparingly. The drawing will be transferred to cold press illustration board and then filled in with acrylic, pastel colors or colored pencils. The effect of this project is somewhat like a stained glass window.

5. Three Dimensional Illusion Abstraction of Shape Design: The student may use any natural object or landscape as inspiration and abstract the form to a simplified design. The student will use values to model the parts of the design into the illusion of 3 dimensional shapes put together in a kind of mosaic bubble form. The simplified parts of your abstraction will actually make the surface parts look like they come away from the surface from which they are attached using light and shadow patterns to achieve a simulated texture pattern. The finished design will have the effect of a high cobblestone relief several different sizes and values used. The final design may be done in colored pencil, pastel, oil or acrylic painting.

6. Color can fool you (Simultaneous contrast): Color is a complicated topic and one that is quite subjective. Even when people are given examples of the colors they should choose, it is hard to pick the exact same color out of a group of similar colors. Add to that other complexities like background, texture or other distractions like content or subject matter, our eyes (and brains) can easily be fooled by colors.

This assignment shows you what happens when the same color is placed in juxtaposition with other colors. Colors that were once warm are now cool or cooler. Two areas of the same color can look different just because they are on different backgrounds. They become illusions.

Conceptual Analysis

Take three containers large enough for your hands to fit into, (like buckets or saucepans from your kitchen). Fill the left one up with hot water, as hot as you can get it and still put your hand in it. Fill the right one with cold water and put a few ice cubes in it to make it really cold. Fill the middle one with lukewarm water. Now put your right hand in the cold water and your left hand in the container with the hot water. Wait 20 - 30 seconds or so for your hands to become adjusted to the temperature. Note the feeling of temperature you have in each hand. Now, immediately place both hands into the lukewarm water. What is happening? What temperature do you feel on each hand? Keep in mind they are in the exact same pail of water. What you are experiencing is called a Haptic Illusion. (Haptic refers to the sense of touch.) A similar thing can happen with your eyes, hence the phrase “Optical Illusion.”

Choose a test color which you will place against varying background colors to see the illusion of color change. It works best if your backgrounds vary from dark to light and from cool to warm or from analogous to complimentary.

7. Thematic Fantasy Illustration: This project will be an opportunity to put together all of the basic principles of design with your creative imagination. Keeping in mind all of the design principles you have learned thus far in the class concerning color, balance, movement, emphasis and subordination, filling the format, etc., you are to use your imagination to put together something that is obviously unreal but in the realm of representational imagery. It could be semi abstract or surrealistic. It should have a message in the representational content that is somewhat intellectual or toys with the mind. Try to avoid subjects that are either repulsively shocking or porn ( juvenile stuff). This assignment is intended to be fun and to stretch your imagination. You will be judged on how well you fill the format design wise as well as the creative use of your imagination. Have fun!

TENTATIVE GRADE BREAKDOWN OF POINTS:

Vocabulary list from lectures ------------------------------------------------------------10 pts

Project 1 - Black and White Biomorphic Rhythm-------------------------------------30 pts

Project 2 - Black and White Rectilinear Rhythm--------------------------------------30 pts

Project 3 - Stippled Value Drawing------------------------------------------------------30 pts

Project 4 - Organic Contour Line with Color-------------------------------------------30 pts

Project 5 - Three Dimensional Illusion of Form Design------------------------------ 30 pts

Project 6 - Simultaneous Contrast--------------------------------------------------------30 pts

Project 7 - Fantasy Illustration------------------------------------------------------------40 pts

Total-----------------------------------------------------------------------------------------230 pts

Your final grade in this class will be an accumulation of points based on the above scale.

90% and above = A

80% --------------- B

70%---------------- C

60%---------------- D

50% & below----- F

COURSE OUTLINE:

Week 1: Course description

Design discussion

Elements of Design

Line

Shape

Value

Texture

Color

(Video: The Colourmen)

Space

Principles of Design

Harmony

Variety

Repetition

Rhythm

Balance

Proportion

Dominance

Movement

Economy

Unity

Video: Georgia O’keeffe

Midterm Evaluation:

Final Evaluation:

TWO DIMENSIONAL DESIGN PRINCIPLES

1 & 2. UNITY AND VARIETY are complimentary concerns and the crux of good design. Unity is the appearance or condition of oneness; variety provides diversity and a counterbalance to extreme unity.

Design is a dualism or balancing of HARMONY or UNITY against VARIETY. There must be enough similarities (repetition or rhythm = harmony) to unify the composition and enough variety (differences in size, space relationships, emphasis and subordination, etc.) to make it interesting.

3. BALANCE is the achievement of equilibrium, the condition in which acting influences are held in check by opposing forces. Balance generally comes in two forms; symmetrical and asymmetrical.

Symmetrical balance is the near or exact matching of left and right sides of a three dimensional or two dimensional composition.

In Asymmetrical balance, the two sides are not the same. Instead, various visual phenomena are balanced - according to their visual and referential weights -- around a felt or implied center of gravity. Asymmetry is the more relied upon method for creating visual balance because it inherently has more variety or interest than symmetrical balance through symmetry is often used successfully.

4. EMPHASIS AND SUBORDINATION is used to draw our attention to an area or areas. If that are is a specific spot or figure, it is called a focal point. Position, contrast, color intensity, size and complexity can all be used to create emphasis.

Through subordination, an artist creates more neutral areas or areas of lesser interest that keep us from being distracted from the focal point or areas of emphasis.

Emphasis and subordination are ways in which an artist balances and controls the sequence of our seeing and the amount of attention we pay to the various parts of any work of art.

5. DIRECTIONAL FORCES are paths for the eye to follow provided by actual or implied lines. Implied directional lines may be suggested by a form’s axis, by the imagined connection between similar or adjacent forms, or by the implied continuation of actual lines.

The object of controlling directional forces is to maintain the eye within the picture plane and direct the eye to the desired focal point.

6. CONTRAST is the juxtaposition of strongly dissimilar elements. Dramatic effects can be produced when dark is set against light, large against small, bright colors against dull, etc. Without contrast, visual experience would be monotonous.

Contrast can be seen in the thick and thin areas of a single brush stroke. It can also be seen in the juxtaposition of regular geometric and irregular organic shapes, or in hard (sharp) and soft (blurred) edges. Contrast can provide visual interest, emphasize a point, and express content.

7. REPETITION AND RHYTHM of visual elements gives a composition unity, continuity, flow and emphasis.

In the visual arts, rhythm is created through the regular recurrence of elements with related variations. Rhythm refers to any kind of movement or structure of dominant and subordinate elements in sequence. We generally associate rhythm with temporal arts such as music, dance and poetry. Visual artists also use rhythm, as an organizational and expressive device.

8. SCALE AND PROPORTION: Scale is the size relationship of one thing to another. Proportion is the relationship of parts to a whole.

Scale is one of the first decisions an artist makes when planning a work of art. How big it will be. We experience scale in relation to our own size, and this experience constitutes an important part of our response to works of art.

Proportion gives us a sense of belonging because we relate to it in terms of past experience with the world around us. When actual objects are represented in the proper proportion to one another as they occur in life, we feel the comfort of our own elements. When objects are presented out of proportion to one another or in any degree of distortion it can give us a feeling of disorientation.

Design Precepts

A Precept is a rule of action or direction of action as in how to put principles into practice.

The following is a listing of action considerations in organizing a composition. It is important to remember that any principle can be violated if it is overridden sufficiently by another principle.

1. HARMONY WITHOUT TOO MUCH VARIETY --Since Design is a balancing of Unity or Harmony vs. Variety or differences, the first consideration is how to achieve the balance.

Harmony is achieved by using similarities throughout the composition as in the principles of repetition and rhythm. Harmony or unity is achieved then by using similarities in shape, color, line element etc. to create similarities throughout the composition.

The first consideration therefore is how to maintain similarities and still create the variety or differences without destroying the similarities. It is a matter of being different without being too different.

A. Size or proportion might be the first principle to look at to make a difference without destroying similarities.

B. Contrasts in busy sections versus less busy as in the addition of smaller line elements etc.

C. Line element changes without being too different so as to not fit in with the rest of the composition.

2. CREATING A FOCAL POINT -- Focal point or point of emphasis is created by contrasting a part of the composition in a way to make it stand out or attract our attention. Since it still has to fit into the composition in terms of similarity of line or shape, it has to be contrasted in some other way.

A. Size variation

B. More active of less active part of the composition. In a more active or busy composition it would stand out by virtue of its simplicity. In a less active composition it could be activated by adding smaller elements that make it busier in a less active composition.

3. PLACEMENT OF THE FOCAL POINT -- Contrast is the element that creates the focal point or the point that attracts our attention in the composition. Finding it’s proper position in the picture plane can be all important. Perhaps it is easiest to list the positions where it is most dangerous to place a focal point.

A. Too centered in the composition tends to create too much symmetry or lack of variety or monotony.

B. Too close to an edge in the picture plane creates a point of tension or draws your eye out of the composition. Too close to a corner tends to direct the eye out of the picture plane through the corner.

4. ASYMMETRICAL BALANCE VERSUS SYMMETRICAL -- Too much symmetry creates monotony or boredom unless it is counteracted. It follows therefore that the easier type of composition is asymmetry.

5. CONNECTING PARTS OF THE COMPOSITION TOGETHER. -- It is almost always necessary to connect parts of the composition together to maintain harmony. Too much separation of parts can and often does look chaotic as if the parts are sprinkled on without any intended organization.

6. PICTURE PLANE EDGE CONSIDERATION -- Be aware that how you use the edges of the picture plane is very important to your composition. Be consistent in your use of the edges of your composition.

A. If you contact an edge on one side, do it on the others.

B. Be careful not to run elements of your design along the edges.

C. It is usually best to take the design off the edges giving your design a cropped look.

VOCABULARY LIST:

DESIGN______________________________________________________________________

FORM ________________________________________________________________________

CONTENT____________________________________________________________________

AESTHETICS_________________________________________________________________

ELEMENTS OF DESIGN:____________________________________________________________

Line

Shape

Color

Texture

PRINCIPLES OF DESIGN:____________________________________________________________

Unity (Harmony)__________________________________________________________

Variety (Interest)__________________________________________________________

Balance__________________________________________________________________

Emphasis (Dominance) and Subordination

Directional forces (Movement)

Scale and Proportion

Rhythm and Repetition

Contrast

HUE

VALUE

CHROMA

COMPLIMENTARY COLORS

ANALOGOUS COLORS

TRIADIC COLORS

MUNSELL COLOR SYSTEM

GOLDEN SECTION

FIBONACCI NUMBERS

BIOMORPHIC

RECTILINEAR

POSITIVE SPACE

NEGATIVE SPACE

ORTHAGONAL LINES

ASYMETRICAL BALANCE

BAUHAUS

CHIAROSCURO

TENEBRISM

SIMULTANEOUS CONTRAST

TWO DIMENSIONAL DESIGN EVALUATION FORM

Name:

More than 10 absences will be cause for failure in the class.

Project 1 - Black and White Biomorphic - 30 pts Due

Rhythm - (similarity) Throughout 1 2 3 4 5

Variety, contrast, dominance, center of interest 1 2 3 4 5 Technical execution 1 2 3 4 5

Project 2 - Black and White Rectilinear - 30 pts Due

Rhythm - (similarity) Throughout 1 2 3 4 5

Variety, contrast, dominance, center of interest 1 2 3 4 5 Technical execution 1 2 3 4 5

Project 3 - Stippled Value Drawing - 30 pts Due

Value contrast 1 2 3 4 5

Form, composition 1 2 3 4 5

Rhythm - (similarity) Throughout 1 2 3 4 5

Variety, contrast, dominance, center of interest 1 2 3 4 5 Technical execution 1 2 3 4 5

Project 4 - Organic Contour Line + Color - 30 pts Due

Color Scheme 1 2 3 4 5

Form, composition 1 2 3 4 5

Rhythm - (similarity) Throughout 1 2 3 4 5

Variety, contrast, dominance, center of interest 1 2 3 4 5 Technical execution 1 2 3 4 5

Project 5 - 3 D Illusional Abstract Design - 30 pts Due

Color Scheme 1 2 3 4 5

Form, composition 1 2 3 4 5

Rhythm - (similarity) Throughout 1 2 3 4 5

Variety, contrast, dominance, center of interest 1 2 3 4 5 Technical execution 1 2 3 4 5

Project 6 - Simultaneous Contrast - 30 pts Due

Color Scheme 1 2 3 4 5

Form, composition 1 2 3 4 5

Rhythm - (similarity) Throughout 1 2 3 4 5

Variety, contrast, dominance, center of interest 1 2 3 4 5 Technical execution 1 2 3 4 5

Project 7 - Fantasy Illustration - 40 pts Due

Color Scheme 1 2 3 4 5

Composition 1 2 3 4 5

Creative Imagination 1 2 3 4 5

Technical execution 1 2 3 4 5

Final Grade (Percentage of Total Points available)

DUE DATES - DESIGN 1

VOCABULARY LIST 10 Points ______

1 BLACK AND WHITE BIOMORPHIC RHYTHM DESIGN – Jan 30 START THE STIPPLED DRAWING 30 Points ______

2 BLACK AND WHITE RECTILINEAR RHYTHM DESIGN – Feb 17th 30 Points ______

3 BIOMORPHIC DESIGN WITH COLOR – Feb 20th 30 Points ______

MIDTERM GRADE – DATE OF WITHDRAWAL Mar 1st – STIPPLED

DRAWING PROGRESS CHECK – Mar 7th

4 3 DIMENSIONAL ILLUSION OF FORM DESIGN – Mar 21st

30 Points ______

5. SIMULTANEOUS CONTRAST DESIGN – Apr 4st

30 Points ______

6. STIPPLED VALUE DRAWING – Apr 18th 30 Points ______

7. FANTASY ILLUSTRATION – May 3rd 40 Points ______

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