Principles of Design

1. Principles of Design

2. Some PRINCIPLES OF DESIGN SCALE PROPORTION BALANCE – symmetry/asymmetry EMPHASIS CONTRAST FOCAL POINT REPETITION VARIATION

3. SCALE SCALE - the size of a work compared to the environment: miniature, human, monumental.

4. 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.

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

6. a bit bigger . . .

7. 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.

8. Geogia O'KeeffeJimson Weed 70x84 in Scale has to do with the size of the work itself

9. PROPORTION PROPORTION PROPORTION

10. Leonardo: The Last Supper, 1498

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

12. 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.

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

15. Carlo CrivelliVenetian, c. 1430/1435 - 1495Madonna and Child Enthroned with Donor, 1470tempera on panel, painted surface: 125.3 x 50.7 cm (49 5/16 x 19 15/16 in.) including unpainted margins: 129.5 x 54.4 cm (51 x 21 7/16 in.) donor

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

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

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

19. DurerDancing Peasants1514 BALANCE

20. Master of the Saint Lucy LegendBruges, active c. 1480 - c. 1510Mary, Queen of Heaven, c. 1485/1500oil on panel, painted surface: 199.2 x 161.8 cm (78 7/16 x 63 3/4 in.)

21. Frida Kahlo, The Two Fridas, 1939

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

23. Assymetical balance?

24. Assymetical balance?

25. H. H. Richardson 1880-1883Crane Memorial Public LibraryQuincy, Massachusetts

28. EMPHASIS accent

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

30. not a good example of EMPHASIS Andy Warhol, Orange Disaster No. 5, 1963

31. CONTRAST

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

33. 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.

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

36. 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”?

37. Degas Waiting

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

39. Focal Point

40. Rogier van der WeydenNetherlandish, 1399/1400 - 1464Portrait of a Lady, c. 1460oil on panel, painted surface: 34 x 25.5 cm (13 3/8 x 10 1/16 in.) panel: 37 x 27 cm (14 1/16 x 10 5/8 in.) Broad, plain areas contrast with tangle of fingers

41. James McNeill WhistlerAmerican, 1834 - 1903Symphony in White, No. 1: The White Girl1862oil on canvas, 213 x 107.9 cm (83 7/8 x 42 1/2 in.) White-on-white,but what animal nature lurks?

42. John Singer SargentAmerican, 1856 - 1925Nonchaloir (Repose), 1911oil on canvas, 63.8 x 76.2 cm (25 1/8 x 30 in.) Appropriate clothes?

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

44. Rhyme in poetry The world is too much with us; late and soon, Getting and spending, we lay waste our powers; Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon, The winds that will be howling at all hours, And are up-gathered now like sleeping flowers, For this, for everything, we are out of tune; It moves us not.--Great God! I'd rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn. William Wordsworth, “The World Is Too Much with Us” (1807)

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

46. Eadweard Muybridge, photographer

47. Monet Poplars . . .

48. Monet Poplars . . .

49. Monet Poplars . . .

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