Principles of Design

1. Principles of Design

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

3. What are they used for? Used to organize the elements of art and allows for a good design to happen.

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

6. Eadweard Muybridge, photographer

7. Monet Poplars . . .

8. Monet Poplars . . .

9. Monet Poplars . . .

10. 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

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

12. CONTRAST

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

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

16. Degas Waiting

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

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

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

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

21. DurerDancing Peasants1514 BALANCE

22. Frida Kahlo, The Two Fridas, 1939

25. EMPHASIS accent

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

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

28. PROPORTION PROPORTION PROPORTION

29. Leonardo: The Last Supper, 1498

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

31. 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

32. 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.”)

33. 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.

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

35. 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.

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

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

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

39. George BellowsAmerican, 1882 - 1925Both Members of This Club, 1909oil on canvas, 115 x 160.5 cm (45 1/4 x 63 1/8 in.)