Principles of Design

1. Some Principles of Design

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

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4. 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)

5. 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

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

7. Eadweard Muybridge, photographer

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

9. Monet Poplars . . .

10. Monet Poplars . . .

11. Monet Poplars . . .

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

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

14. 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

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

16. dancers

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

18. CONTRAST

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

20. 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.

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

23. 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”?

24. Degas Waiting

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

26. 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?

27. 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

28. 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

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

30. 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?

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

32. 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!

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

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

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

36. DurerDancing Peasants1514 BALANCE

37. 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.)

38. Frida Kahlo, The Two Fridas, 1939

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

40. Assymetical balance?

41. Assymetical balance?

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

46. Assymetical balancein music? A concerto sets a soloist or small group of soloists “against” an orchestra

47. EMPHASIS accent

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

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

50. 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)