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PRINCIPLES OF DESIGN

PRINCIPLES OF DESIGN

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PRINCIPLES OF DESIGN

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  1. Some PRINCIPLES OF DESIGN REPETITION VARIATIONCONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent ECONOMY PROPORTION SCALE

  2. Repetition in Art Creates visual rhythm /////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\ >>>>>>>>>>>>>>> <<< <<< <<< <<< <<< O OO OO OOO OO OO O |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ and patterns XXXXXXXX XXXXXXXX XXXXXXXX

  3. Alliteration & assonance in poetry TO THE STONE-CUTTERS Stone-cutters fighting time with marble, you foredefeated Challengers of oblivion Eat cynical earnings, knowing rock splits, records fall down, The square-limbed Roman letters Scale in the thaws, wear in the rain. The poet as well Builds his monument mockingly; For man will be blotted out, the blithe earth die, the brave sun Die blind and blacken to the heart: Yet stones have stood for a thousand years, and pained thoughts found The honey of peace in old poems. Robinson Jeffers, 1924

  4. Andy Warhol, Orange Disaster No. 5, 1963

  5. Eadweard Muybridge, photographer

  6. Some repetition in music PHILIP GLASS EINSTEIN ON THE BEACH (an opera)

  7. Monet Poplars . . .

  8. Monet Poplars . . .

  9. Monet Poplars . . .

  10. Charles Demuth, The Figure 5 in Gold, 1928

  11. Cimabue, Madonna Enthroned, 1280-90 TEXTBOOK p. 185

  12. VARIATION:the alliance between repetition and surprise The extensive poem, moreover, satisfies another two-fold requirement, one that is closely related to the rule of variety within unity: repetition and surprise. Repetition is a cardinal principal in poetry. Meter and its accents, rhyme, the epithets in Homer and other poets, phrases and incidents that recur like musical motifs and serve as signs to emphasize continuity. At the other extreme are breaks, changes, inventions - in a word, the unexpected. What we call development is merely the alliance between repetition and surprise, recurrence and invention, continuity and interruption. Octavio Paz, “Telling and Singing” in The Other Voice

  13. The Four Evangelists, from the Gospel Book of Charlemagne, early 9th century TEXTBOOK p. 135

  14. DEGAS

  15. Repetition/Variation in Music Small-scale repetition creates a sense of pulse, rhythm and meter Motific repetition is used to build phrases Intermediate-scale repetition creates patterns and ostinati Large-scale repetition creates FORM

  16. CAILLEBOTTE, GustaveParis: A Rainy D ay, 1877, Oil on canvas, 83 1/2 x 108 3/4"

  17. Mozart Symphony No. 40 in G minor The motif is repeated and varied – the music is built with this motif (aka motive)

  18. MUSICAL FORM: So what? Expectations confirmed: SATISFACTION! (clichéd, boring, too predictable) Expectations denied: EXPRESSION! (meaningless, wrong, incompetent)

  19. Other Forms We will encounter many types of forms such as: Variation – A A’A’’A’’’ . . . Binary – AABB Rondo – ABACA Sonata – intro-A-B-A-B-dev-A-B’-coda and an entire zoo of forms perhaps not entirely worth cataloging.

  20. CONTRAST

  21. Martin MunkacsiBlack Boys on the Shore of Lake Tanganyika(1931) photograph

  22. Night Attack on the Sanjo Palace (detail)Japan, Kamakura period, second half of the 13th CenturyHandscroll; ink and color on paper16 1/4 x 275 1/2 in.

  23. David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

  24. Contrasts & Oppositions in Hockney’s Portrait of an Artist • Diagonal/horizontal • Straight/curved lines • Air/water/Earth fire? • Natural/artificial • Clothed/(nearly) naked • Tint/shade (light/shadow) • colors What is the psychological relationship between the two men? Which of them is the “artist” in the title? Is it two sides of one person, the “artist”?

  25. Degas Waiting

  26. Contrasts in Degas’s Waiting (1882, pastel) WHITE – BLACK COLOR – NO COLOR OPEN – CLOSED YOUNG – OLD PERFORMER – SUPPORTER BUSY - EMPTY