1 / 29

PRINCIPLES OF DESIGN

Some. PRINCIPLES OF DESIGN. REPETITION VARIATION CONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent ECONOMY PROPORTION SCALE. BALANCE. BALANCE. asymmetry. symmetry. E Q U I L I B R I U M. Leonardo da Vinci, Proportions of the Human Figure (“Vitruvian Man”). TEXTBOOK

tea
Download Presentation

PRINCIPLES OF DESIGN

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

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

  2. BALANCE BALANCE asymmetry symmetry E Q U I L I B R I U M

  3. Leonardo da Vinci, Proportions of the Human Figure (“Vitruvian Man”) TEXTBOOK p. 192

  4. Shiva, bronze temple sculpture, Chola Era (9th-13th C.), South India

  5. Frida Kahlo, The Two Fridas, 1939

  6. Alfred Sisley, The Chemin de By through Woods at Roches-Courtaut, St. Martin's Summer, 1880

  7. Assymetical balance?

  8. Assymetical balance?

  9. DurerDancing Peasants1514 BALANCE

  10. EMPHASIS accent

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

  12. limitation of a composition to a few essential elements; usually a voluntary constraint that is part of the creative process SPECIFIC TO AN INDIVIDUAL WORK, NOT THE GENRE , TYPE OR MEDIUM ECONOMY Examples in music: deriving everything from a single theme (musical idea), limiting the number of pitches, type of instrument, etc. Steve Reich, Music for Pieces of Wood, Clapping Music, or other pieces DC Meckler, Bliss (1999) Morton Feldman, Three Voices (1982)

  13. ECONOMY – very little suggests a lot Picasso, Femme

  14. Picasso, Guernica, 1937 p. 410

  15. PROPORTION PROPORTION PROPORTION

  16. Leonardo: The Last Supper, 1498

  17. Diego Rivera, The Flower Carrier, 1935, 48x48 in.

  18. Joseph Mallord William TurnerBritish, 1775–1851. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840Oil on canvas, 35 3/4 x 48 1/4 in.

  19. Joseph Mallord William TurnerBritish, 1775–1851. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840Oil on canvas, 35 3/4 x 48 1/4 in.

  20. Shahn, Ben, Vacant Lot, 1939Watercolor and gouache on paper mounted on plywood panel, 19 x 23 in

  21. Proportion in music A matter of time, usually lots of time. Example: 3 Beethoven string quartets (Op 59, 1, 2 & 3). Each in 4 movements. No. 1 – BIG 1st mvt No. 2 – nervous 1st mvt, BIG 2nd mvt No. 3 – BIG finale (4th mvt)

  22. SCALE SCALE - the size of a work compared to the environment: miniature, human, monumental. The term can also apply to musical works, although it has an entirely different meaning than “musical scale.” (“A symphony is a large-scale musical work when compared to a song.”)

  23. Claes Oldenburg, Knife Ship I, 1985 Vinyl-covered wood, steel, and aluminum with motors, dimensions variable, maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.

  24. Miniature Leaf from Futuh al-Haramain (Description of the Two Holy Cities of Mecca and Medina), mid-16th century; Ottoman, 8x5 in.

  25. a bit bigger . . .

  26. Some examples of time scales in music Less than a minute - Miniatures – Chopin, Webern, Schoenberg Pop songs – 3-6 minutes Early symphonies – 25-35 minutes Later symphonies – 45 min - 1 hr Longest – Mahler – 1 ½ hrs Short opera – 2 hours Average opera – 3-4 hours (including intermissions) Long opera – 5 hours Longest traditional opera – Wagner’s RING – 18 hours

  27. Robert Motherwell, Elegy for the Spanish Revolution No. 34, 1953-54

  28. Georgia O’Keefe on scale & flowers: Nobody sees a flower—really—it is so small—we haven’t time—and to see it takes time, like to have a friend takes time. . . . So I said to myself—I’ll paint what I see—what the flower is to me—but I’ll paint it big. . . . I will make even busy New Yorkers take time to see what I see of flowers.

  29. Geogia O'KeeffeAmerican, 1887–1986, White Rose with Larkspur, No. 2, 1927, Oil on canvas; 40 x 30 in.

More Related