Principles of Design

1. Some Principles of Design

2. Week of March 18-29, 2013Two Week lessonI Can:Understand the Principles of Design in ART!!!!

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

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

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

6. Eadweard Muybridge, photographer

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

8. Monet Poplars . . .

9. Monet Poplars . . .

10. Monet Poplars . . .

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

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

13. 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

14. dancers

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

16. CONTRAST

17. 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.

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

20. 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”?

21. Degas Waiting

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

23. TWO GIRLS FISHINGJohn Singer Sargent, 1912 (American, b.1856, d.1925) 22 x 28 1/4 in. (55.9 x 71.8 cm) organizational contrast – just variation?

24. organizational contrast • A and Not A • EMOTIONAL CONTRAST • A in tension with Not A • A in conflict and struggle with Not A • A completed by Not A • A united with Not A • A in harmony with Not A

25. 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

26. Winslow HomerAmerican, 1836 - 1910Right and Left, 1909oil on canvas, 71.8 x 122.9 cm (28 1/4 x 48 3/8 in.)

27. 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?

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

29. Gilbert StuartAmerican, 1755 - 1828The Skater (Portrait of William Grant), 1782oil on canvas, 245.5 x 147.4 cm (96 1/4 x 58 in.) Stately, stable figure – on skates!

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

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

32. DurerDancing Peasants1514 BALANCE

33. 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.)

34. Frida Kahlo, The Two Fridas, 1939

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

36. Assymetical balance?

37. Assymetical balance?

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

42. EMPHASIS accent

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

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

45. PROPORTION PROPORTION PROPORTION

46. Leonardo: The Last Supper, 1498

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

48. 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.

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

50. 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