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COMICS

PRINTMAKING. FABRIC. CALLIGRAPHY. CHILDREN’S ILLUSTRATION. DIGITAL IMAGING. PAINTING. QUILTS. WALLPAPER DESIGN. PHOTOGRAPHY. MANGA. FIBER. COMICS. CARTOONS. EMBROIDERY. LETTERPRESS. BOOK DESIGN. POLITICAL CARTOONS. ARCHITECTURAL DESIGN. MOSAICS. MIXED MEDIA. PRODUCT DESIGN.

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COMICS

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  1. PRINTMAKING FABRIC CALLIGRAPHY CHILDREN’S ILLUSTRATION DIGITAL IMAGING PAINTING QUILTS WALLPAPER DESIGN PHOTOGRAPHY MANGA FIBER COMICS CARTOONS EMBROIDERY LETTERPRESS BOOK DESIGN POLITICAL CARTOONS ARCHITECTURAL DESIGN MOSAICS MIXED MEDIA PRODUCT DESIGN MOVIE STORYBOARDS STAINED GLASS FASHION DESIGN FILM STILLS ILLUSTRATION BOOK COVER ILLUSTRATION/DESIGN FASHION ILLUSTRATION

  2. AP STUDIO ART 2D DESIGNJERRY STEFL IT IS COMPLICATED SO BE QUIET AND LISTEN Arthur Wesley Dow; Silhouetted Trees; 1895

  3. Arthur Wesley Dow Composition: A Series of Exercises Selected from a New System of Art Education; 1899. “Mr. Arthur Wesley Dow, the artist, who declares that ‘art education should begin at composition,…” “the filling of spaces in agreeable and harmonious arrangement…” Henry Rankin Poore, Pictorial Composition and the Critical Judgment of Pictures; 1903

  4. WHAT IS 2D DESIGN? DESIGN refers to the adaptation of means to an END. …the coordination of parts to produce a result; intent and purpose fasten on the end itself. …SO PUT ON THE 2D LENS…NOW!

  5. VISUAL ORGANIZATION CES 53 “ART SEEKS VISUAL SOLUTIONS IN WHAT IS OFTEN CALLED THE DESIGN PROCESS.” Design Basics; Laurer & Pentak

  6. BAUHAUS 1919-33 Joost Schmidt; Poster for a Bauhaus Exhibition; 1923

  7. Laszlo Moholy-Nagy; Photogram; 1926

  8. Joseph Albers; Formulation, Articulation; 1972

  9. Johannes Itten; Die Begegnung; 1916

  10. Hannes Meyer; Konstruction; 1927

  11. Lyonel Feininger; Oberweimar; 1927

  12. TYPES OF 2D ARTRepresentational E.J. Bellocq; Storyville/Untitled;1912 Karl Wirsum; Oops Goops; Etching 1997

  13. NONREPRESENTATIONAL Lee Krasner; Noon; Oil; 1947 Liz Ward; Crazy Weather; watercolor/gouache; 2008

  14. Organizing Principles of 2D DESIGN • Unity • Emphasis/Focal Point/Contrast • Scale/Proportion • Balance • Rhythm

  15. UNITY • An integrated image • Agreement exists among the elements • The parts of the whole look like they belong together • Visual connection beyond mere chance • Elements are harmonious Wayne Thiebaud; Cakes; Oil; 1963

  16. UNITY THROUGH PROXIMITY Graffiti

  17. UNITY/PROXIMITY Romare Bearden; Madeline Jones’ Wonderful Garden; College of various papers, ink, graphite with surface abrasion on fiberboard; 1977

  18. UNITY THROUGH REPETITION Brian Dettmer; Book Autopsies; Altered books

  19. UNITY/REPETITION Margaret Bourke-White; Bread Line During the Louisville Flood, Kentucky; Silver Gelatin Print; 1937

  20. UNITY THROUGH CONTINUATION Jules Feiffer; Big Town; Iris print; 2009

  21. UNITY/CONTINUATION Banksy; The Thekla; Waterline; Bristol

  22. UNITY USING THE GRID Harold Michelson; Storyboard, “The Birds;” 1963

  23. UNITY USING THE GRID Eadweard Muybridge; Ascending Stairs; 1884-85

  24. UNITY USING THE GRID Manga; Page 9 from “Love Collage;” 2010

  25. UNITY USING THE GRID Roger Brown; The Young and Self Conscious; Oil; 1991

  26. EMPHASIS/FOCAL POINT/CONTRAST • An emphasized element can attract attention • It encourages the viewer to look closer • Large vs. small • Light vs. dark Tony Fitzpatrick; O; Color etching; 2000

  27. EMPHASIS BY CONTRAST Mehdi Saeedi; The 18th International Music Festival; Poster for the Music Center, Islamic Guidance Ministry; 2003

  28. EMPHASIS BY CONTRAST Ansel Adams; Bridal Veil Falls, Yosemite Valley; 1929

  29. EMPHASIS BY CONTRAST Ed Paschke; Paula; Oil on linen; 1972

  30. EMPHASIS BY ISOLATION David Brebin; Girl in Hong Kong; Digital C-Print; 2010

  31. EMPHASIS BY ISOLATION Erol/CT’INK; Dresden 09; Spray paint on cardboard; 2010

  32. EMPHASIS BY ISOLATION Jonathon Hexner; Boy Drinking 3/11; Dynamite Fuse & Utrachrome on paper; 2006

  33. EMPHASIS BY PLACEMENT Julie Blackmon; Take Off; Digitally constructed photograph, 2009

  34. EMPHASIS BY PLACEMENT Martin Ramireiz; Title Unknown; melted wax carayon, oatmeal paint on discarded paper; date unknown

  35. EMPHASIZING THE WHOLE OVER THE PARTS Joan Miro; II. Ubo Roi: Le Banquet; Lithograph; 1966

  36. EMPHASISING THE WHOLE OVER THE PARTS Robert Swedroe; Paragon in Red; Oil on canvas; 2007

  37. SCALE AND PROPORTION • Refers to size • Large scale and small scale are meaningless without a standard of reference • Size measured against other elements is proportion Ali Omar Ermes; The Letter ‘Kaf”-The Power of Expression; 1945

  38. HUMAN SCALE/LARGE VS. SMALL Christopher Klein; Dreamtime; Oil on Canvas

  39. HUMAN SCALE/LARGE VS SMALL Deborah Ebbers; Old Giants No. 2; Oil on Panel, 2009

  40. SCALE IN CONTEXT Kehinde Wiley; Three Graces; Oil/Enamel on canvas; 72x96 inches; 2005

  41. SCALE IN CONTEXT Magdalena Abakanowicz; Bois-Le-Duc; Sisal and wool weaving; 1970/71

  42. BALANCE • Distribution of visual weight seeming natural and unposed • Equal distribution of visual weight on either side of a vertical axis Mel Bochner; Blah, Blah, Blah; Oil on velvet; 49 x 37 inches; 2009

  43. ASYMMETRICAL OR INFORMAL BALANCE Matt Kane; And Together We’ll Remain the Parts that make Whole of Our Pain; Oil on canvas

  44. ASYMMETRICAL OR INFORMAL BALANCE James Mesple; Siren’s Song; Mixed Media; 2008

  45. SYMMETRICAL OR FORMAL BALANCE Karl Blossfeldt; Indian Balsam

  46. SYMMETRICAL OR FORMAL BALANCE Hollis Sigler; I Find Hope on the Horizon; Color Lithograph; 1996 Hollis Sigler; She Dreams of Escaping to Hope; Color Intaglio with lithographed mat; 1997

  47. RADIAL SYMMETRY Wissam Shawkat; Poster for Arabic Calligraphy; Ink; Iraq

  48. RADIAL SYMMETRY Sally Mann; At Warm Springs; Gelatin Silver Print; 1991

  49. RHYTHM • Movement across recurrent motifs • Inherent in repetition • Made up of patterns and sequences Ed Paschke; Flamenco; 8 color screen print; 1991

  50. RHYTHM USING REPETITION Virginia Spiegel; Quilt; Cotton fabric dyed and painted, felting, threads

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