Arts 102 Design & Communication

Design & Communication | ARTS102

Introduction: Design & Communication.

Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design Design& &Communication Communication||ARTS102 ARTS102

Intro: Design & Communication Intro: Design & Communication VVISUAL ISUALCCOMMUNICATIONS OMMUNICATIONSTHROUGH THROUGHTHE THEYEARS YEARS

Visual Visualcommunication communicationisisininfront frontofofus usevery everysingle singleday. day.It’s It’spresence presenceininour ourdaily daily lives livesisisnow nowso soconstant, constant,we weoften oftentake takeititfor forgranted.There granted. Thereisislittle littleneed needtotovisit visit an anart artgallery gallerytotoexperience experiencevisual visualcommunication.We communication. Weuse usevisual visualcommunication communication totonavigate navigateand andunderstand understandour ourworld. world.Packaging, Packaging,signs, signs,logos, logos,advertisements, advertisements, brochures, brochures,books, books,smartphones, smartphones,posters, posters,billboards billboards. . . .totoname namebut buta afew, few,are areallall prominent prominentexamples examplesofofvisual visualcommunication. communication.Our Oursmartphone smartphoneisisaagreat great example exampleofofvisual visualcommunication communicationthat thatwe wedepend dependon onevery everyday. day.Whether Whetherwe we consciously consciouslyperceive perceivethis thisdevice deviceasas‘designed’ ‘designed’or ornot, not,ititplays playsan animportant importantpart partofof shaping noticing design is not essential part visual shapingour ourexistence. existence.Just Noticing design is not an an essential part of of visual communication communicationtotofulfill fulfillitsitsfunction. function.

“To is much moremore than than simply simply “Todesign design is much totoassemble, to order, or even to edit; to edit; assemble, to order, or even ititisistoto addadd value and and meaning, to value meaning, to illuminate, to simplify, to clarify, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. persuade, and perhaps even to amuse.

To design is to transform prose into To design is broadens to transform prose into poetry.

Design perception, poetry. Design broadens perception, magnifies experience, and enhances vision.

Designexperience, is the productand of enhances magnifies feeling and awareness, of product ideas that of vision.

Design is the originate in theawareness, mind of the designer feeling and of ideasand that culminate, one hopes, in the mind of the originate in the mind of the designer and culminate, one hopes, in the spectator.” mind of the spectator.”

-Paul Rand, Design Form and Chaos, 1993 -Paul Rand, Design Form and Chaos, 1993 With the emergence of new media beyond printed matters, terms like ‘communication design’ofornew ‘visual communication’ havematters, becameterms popular With the emergence media beyond printed like in order to reflect the increasing of the field, and putsbecame the focus in theincore of ‘communication design’ complexity or ‘visual communication’ have popular order the business—communication. to reflect the increasing complexity of the field, and puts the focus in the core of the business—communication.

Visual Visualcommunication communication’isisaavery veryloosely looselydefined definedterm.When term. Whenwe wetalk talkabout aboutvisual visual communication, we speak of a UNITY or unification of content, the message communication, we speak of a UNITY or unification, of content the message and andthe theform formofofhow howititlooks. looks.We Weasasdesigners designersare are‘senders’ ‘senders’ofofthe themessage. message.

Through a medium, we deliver the message to the receiver.

Through a medium, we deliver the message to the receiver.

There Thereare aremany manytypes typesofofvisual visualcommunication communicationdesigners. designers.Some Sometake takeaamore more analytical analyticalapproach, approach,some somemore moreconceptual, conceptual,some someexpressive. expressive.One Onemight mightthink think the themost mostimportant importanttrait traitofofaavisual visualcommunication communicationdesigner designerisiscreativity. creativity.They They are areusually usuallythe thetraditional traditionaltype typewho whohas hasan an‘artist ‘artistdisposition’. disposition’.But, But,ininfact, fact, creativity creativityonly onlyconstitutes constitutesaapart partofofwhat whatan anartist artistdisplays. displays.Visual Visualcommunication communication utilizes utilizesboth boththe theleft leftand andthe theright rightside sideofofthe thebrain. brain.Artists Artistsand anddesigners designersnot not only onlyhave havetotobe beable abletotobe becreative, creative,but butto toalso alsowork workmethodically methodicallyand and systematically systematicallytotocommunicate communicatetheir theirmessages messagesclearly. clearly.Research, Research,for forthe theintended intended audience, audience,also alsoforms formsaalarge largepart partofofaadesigner’s designer’swork. work.

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Forms of Visual Communication

Forms of Visual Communication: Traditional & New Media “Art is not what you see, but what you make others see.�

-Edgar Degas

Traditional Media Traditional media for this class is described as drawing, painting, printmaking, graphic design, illustration, photography and film. Featured Left: Francois Boucher, The Geniuses of Art. New Media New Media Represents current trends in communication messaging across platforms such as social networks, mobile applications, software development and user experience design Featured Right: Untitled Graphic Design

by The Social Clinic.

Forms of Visual Communication: Traditional Media

Drawing | Painting | Printmaking This genre is traditional artists translating their ideas and inspiration into a visual, most often as personal expression. Their artworks consist of formal elements of visual language such as line, shape, value, texture and color.

Graphic Design | Illustration This form of visual communication combines words, images and ideas to convey a message to a defined audience. This is most often a reciprocal design involving designer and approval of the receiver.

Photography | Film This form of visual communication is really about capturing the essence of a moment or movement on film in real time. These moments are often are meant to evoke strong emotion from the viewer.

FOR MORE EXAMPLES, PLEASE CLICK ON PHOTO GALLERIES TO OPEN

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VASSILY KANDINSKY, 1913 http://www.theartstory.org/artist-kandinsky-wassily.htm

DEGAS DRAWINGS http://www.edgar-degas.org/

MIRAPHORA MINA AND EDUARDO LIMA http://www.fastcodesign.com/1672934/meet-the-duo-behind-thegraphic-design-wizardry-of-harry-potter

Movie 2.1 Catch Me If You Can

2005 film starring Tom Hanks and Leonardo DiCaprio

SAUL BASS DESIGN FOR FILM LOOP

For more on Saul Bass visit http://www.spielberg-ocr.com/opening-titles.html

ICONIC LOGO DESIGNS www.logoorange.com

Forms of Visual Communication | Traditional Media

Traditional Media FOCUS ON: PAULA SCHER, GRAPHIC ARTIST SCHER’S LIFE IN TYPE Paula Scher (born October 6, 1948, Washington D.C) is an American graphic designer, painter and art educator in design, and the first female principal at Pentagram, which she joined in 1991.In 1994, Paula Scher was the first designer to create a new identity and promotional graphics system for The Public Theater, a program that become the turning point of identity in designs that influenced much of the graphic design created for theatrical promotion and for cultural institutions in general. In 2006, an exhibition at Maya Stendhal gallery in New York City, Paula Scher painted two 9-by-12-foot maps that resembled patchwork quilts from afar, but contained large amounts of textual detail..

Public Theatre Series

Maps Movie Poster - 27 Dresses

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Forms of Visual Communication | Traditional Media

Traditional Media

FOCUS ON: ARTEMISIA GENTILESCHI, BAROQUE PERIOD PAINTER JUDITH BEHEADING HOLOFERNES

SELF-PORTRAIT

DESCRIPTION:

DESCRIPTION:

This work shows the scene of Judith beheading Holofernes, which had been common in art since the Renaissance, as part of the group of subjects called the Power of women, which show women triumphing over powerful men. The subject takes an episode from the apocryphal Book of Judith in the Old Testament, which recounts the assassination of the Assyrian general Holofernes by the Israelite heroine Judith.

The painting shows the moment when Judith, helped by her maidservant, beheads the general after he has fallen asleep drunk.

The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them.

Gentileschi’s portrayal of herself as the epitome of the arts was a bold statement to make for the period.[2] Though the painting is today overshadowed by many of Gentileschi’s other, more dramatic and raw scenes reflecting the artist’s troubling younger years,[3] Self-Portrait was very controversial in its time.

ABOUT THE ARTIST Artemisia Gentileschi was an early Italian Baroque painter, and the only female follower of Caravaggio, whom she worked with in Italy in the early 17th century. Her innovative compositions and focus on Biblical heroines set her apart from her male contemporaries and have lead to the celebration of Gentileschi as a painter with a uniquely female perspective.

Judith Beheading Holofernes

Self Portrait

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Gentileschi was born in Rome, the daughter of celebrated painter Orazio Gentileschi. As a young girl, she served as an apprentice to her father, learning the skills of a professional painter. When her father recognized that she had advanced beyond his training, he hired the painter Agostino Tassi to further her painting skills. In 1612, Tassi raped Gentileschi, an event now inextricably linked to her name

Forms of Visual Communication | New Media

Animation | Gaming Animation and gaming has become one of the fastest growing sectors in the U.S. economy.

Entertainment software companies deliver well-paying jobs and revenue to up and coming designers in the market.

Websites | Mobile Applications Digital media time in the U.S. has exploded recently – growing nearly 50 percent in the past two years, with more than three-fourths of that growth directly attributable to the mobile app. Mobile has grown so fast that it’s now the leading digital platform in the nation.

Interactive | UX design Over the last decade, companies like Apple, Facebook, and Square have employed a designcentric ethos to set themselves apart from the competition. Utilizing top design talent helps companies grow faster through differentiation and better customer experiences.

FOR MORE EXAMPLES, PLEASE CLICK ON PHOTO GALLERIES TO OPEN

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www.simpsonsworld.com

SPONGEBOB SQUAREPANTS http://www.nick.com/spongebob-squarepants/

BEAUTY AND THE BEAST http://movies.disney.com/beauty-and-the-beast

Movie 2.2 Conjunction Junction.

“CONJUNCTION JUNCTION” 2-D ANIMATION View this video at: https://www.youtube.com/watch?v=RPoBE-E8VOc

Movie 2.3 Sweet Cocoon. Nominated for a 2015 Oscar. Please click to view.

“SWEET COCOON” 3D ANIMATION View this video at: https://www.youtube.com/watch?v=D0a0aNqTehM

Forms of Visual Communication - New Media

New Media FOCUS ON: USER EXPERIENCE DESIGN

SO WHAT IS UX DESIGN? User experience (abbreviated as UX) is how a person feels when interfacing with a system.

The system could be a website, a web application or desktop software and, in modern contexts is generally denoted by some form of human-computer interaction.

Those who work on UX study and evaluate how users feel about a system, looking at such things as ease of use, perception of the value of the system, utility, efficiency in performing tasks and so forth.

UX designers also look at sub-systems and processes within a system. For example, they might study the checkout process of an ecommerce website to see whether users find the process of buying products from the website easy and pleasant. They could delve deeper by studying components of the subsystem, such as seeing how efficient and pleasant is the experience of users filling out input fields in a Web form.

Compared to many other disciplines, particularly Web-based systems, UX is relatively new. The term “user experience� was coined by Dr. Donald Norman, a cognitive science researcher who was also the first to describe the importance of user-centered design. To learn more about UX Design visit www.smashingmagazine.com.

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Forms of Visual Communication | New Media

New Media FOCUS ON: HANNA-BARBERA, 2-D ANIMATION CLASSIC SATURDAY CARTOONS Hanna Barbera is one of the most popular cartoon productions in the world. HannaBarbera was founded in 1957 by directors William Hanna and Joseph Barbera, known as the creators of the legendary cartoon Tom & Jerry. These two formed Hanna-Barbera as a division of MGM in 1944, but once MGM was shut down, Hanna Barbera was formed as an independent animation studio. In 1957, Hanna and Barbera signed a deal with the popular Columbia Pictures Corporation in order to syndicate the Hanna-Barbera cartoons. Despite having a diverse range of cartoon characters and series, Tom & Jerry are the Hanna-Barbera characters taking all the credit for the success of the company. Tom & Jerry cartoons feature the cat, Tom, and the mouse, Jerry, which are involved in an endless chase representing the eternal rivalry between cats and mice. Through the years of Hanna-Barbera productions, the Tom & Jerry directors have been awarded with seven Oscars, eight Emmy awards along with being awarded a star on the Hollywood Walk of Fame. Creating over 1000 Hanna-Barbera characters starring in a countless number of cartoons, Hanna-Barbera productions will be remembered as a powerful force for waking up early on Saturday mornings in the 80s and 90s.

For additional information visit: www.allcartooncharacters.com

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S E C T I O N | 3Purposes Visual Communication

Purposes of Visual Communication THE FIVE PURPOSES OF VISUAL COMMUNICATION

David Lean used footage designed to simulate Russian winters in his film Dr. Zhivago that highlighted the enormous expanse of Russian plains covered in deep snow.

Generally speaking, there are five main functions of the visual communication: ceremonial, artistic expression, narrative, functional, and persuasive. To these can be added “beauty,” in effect, the desire of the artist to simply create something beautiful with little or no thought to any significance beyond that objective.

Functional visual art refer to structures or tools that are actually used in day-to-day activities yet are designed to be aesthetically pleasing in addition to being functional.

Architecture is a prominent form of visual communication to incorporate functionality in design. Major architects like Frank Lloyd Wright, I.M. Pei and Frank Gehry are wellknown historical figures for their success in combining art and function. The buildings for which architects are commissioned to design obviously have to serve a function, whether it is as a museum, hospital, house, or theater, yet are expected to be unique and challenging. Functional art can also be quite small, such as the coffee maker or fruit peeler designed to look futuristic while also performing their intended functions.

The ceremonial purpose of the visual arts is to celebrate or acknowledge an event or era, or to contribute to a ritualistic activity, such as a dance celebrating one of the season or a people’s flight from captivity or hunger. One of the more common forms of ceremonial art is quilting, in which the patterns employed have some symbolic importance, or the use of ceremonial garb by Native Americans participating in a Pow Wow. Artistic expression refers to the desire or need on the part of the artist to express his or her emotions or feelings regarding a particular subject. Many abstract artists, for example, Jackson Pollock and Mark Rothko, are assumed to be expressing emotions or beliefs through their art, which lends itself to multiple interpretations and references to the known state of the artist’s being during the period in which the individual work of art was created. Pablo Picasso’s art was known to be heavily influenced by his emotional state during specific periods of his life.

Persuasive art is intended to convey a message. Advertising for television, billboards, magazine, and other visual media is a form of persuasive art, in that images are selected and manipulated in order to convey a message or subliminally influence a consumer’s decision. A common form of persuasive visual art is propaganda posters and cartoons intended to denigrate a particular category of people, such as a racial or religious minority, or to foster emotional reactions among viewers for or against a particular political cause. During the Cold War, the Soviet Union used propaganda to convince its own people as well as others of the righteousness of its cause and the moral and political depravity of U.S. policies. Nazi Germany, under the authoritarian hand of Joseph Goebbels, used propaganda posters and newspaper editorial cartoons to demonize Jews and facilitate the inculcation of a culture of genocide. Tobacco companies use this form of visual art to associate cigarette smoking with masculine virility and feminine mystique and power.

The narrative purpose is to tell a story or relate the history of one’s people. Again, quilting is a classic form of the use of visual arts to communicate a story. Film is frequently used to tell a story, such as with Steven Spielberg’s film about the Holocaust, Schindler’s List, in which he used black and white photography to provide a documentary and more somber “feel” to the film, while incorporating rare color footage to illuminate a detail and lend significance to the item or individual in question.

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Visual Communication | Structure

Structures OVERVIEW OF THE ELEMENTS & PRINCIPLES DESIGN The elements of good design are the tools used by an artist or designer to create an effective composition or design. The difference between a weak design and a strong one is completely dependent upon the artist's knowledge of the design elements and principles. We will take a look at each of these elements & principles in a series of lessons.

The ELEMENTS of design for this class include:

• Line - an actual or implied where length is dominant

• Texture - surface (rough, smooth, etc.)

• Value - the degree of lightness or darkness

• Shape/Form - area bound by line, value, or color

• Space - distance between objects (2-D or 3-D)

• Color - a pigment

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Visual Communication | Structure

Structures OVERVIEW OF THE ELEMENTS & PRINCIPLES DESIGN

HOW the artist brings these elements to together and arranges them creates the composition. A design is the result of the application of the principles of design.

The PRINCIPLES of design for this class include:

• Balance - a feeling of equality of weight within the composition

• Rhythm/Repetition/Pattern - the act of repeating an element

• Emphasis/Contrast - the stress placed on a single area of a work

• Proportion - the relation of size and scale among objects

• Movement - path of the viewer’s eye

• Unity - the relationship between individual parts and the whole

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All art is subject to the same elements and principles of good design. Graphic artists compose their designs and page layouts using the same design principles the fine artists use. The basis of design is the arrangement of the elements within a work of art. It is the bringing together of various components

into one area and arranging them in such a way as to create a composition, layout or design that is both unified and pleasing to look at. Designing begins with proper planning - this is what we call the design process, which we will become more familiar with in the next lesson.

LETS BEGIN CREATING! PLEASE BEGIN THE NEXT LESSON.

Design & Communication | ARTS102

Lesson One: Part One UNITY Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: UNITY THE PRINCIPLE OF UNITY IN VISUAL COMMUNICATION - OVERVIEW

There are very few hard and fast rules in visual communication; multiple correct options exist to effectively relate your message and have it understood.

However, the principle of Unity exists in all successful design. Unity, also referred to as harmony, is a state where a degree of agreement exists among the different elements of the artwork, a pleasing combination of parts that make up a whole composition. A unified message is organized. Imagery must be organized if the audience is to understand and remember it.

A gestalt is created because the mind simplifies and organizes information. It does this by grouping elements together to create new wholes. Understanding how the mind groups elements (by proximity, similarity, continuation and alignment) helps us understand how unity can be achieved. We will cover Gestalt theory simply here a bit later and in greater depth in a subsequent chapter.

No element of the message is independent of any other element. Each element influences and is influenced by the other existing elements in a message. As we move further into the course we will discover how different design elements and principles affect a visual message. Powerful, directed, and easily understood messages can be delivered when all elements and principles are working together to present factual, emotional, psychological, and persuasive information the designer wishes communicated. In order for this multi-layered communication to be successful the imagery must be presented in a cohesive format that does not detract from the message through mixed messages, noise, distraction, or the lack of a structured statement. Achieving visual unity promotes effective visual communication. There are multiple ways of visually organizing elements. We will touch on these in the next few pages.

The principle of unity is perhaps the most important of the design principles, yet it is often the most difficult to understand. Unity is the fundamental principle of design and it is supported by all the other principles. If a design is not unified, it cannot be considered successful.

Unity creates an integrated image in which all the elements are working together to support the design as a whole, and is based on the gestalt theory of visual perception, which states that the eye of the viewer seeks a gestalt or unified whole. This means that the viewer is actually looking for a connection between the elements, for some sort of organization, for unity in the design.

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Thematic or Conceptual Unity

Thematic or Conceptual Unity An arrangement of similar or related objects or content in a composition. Themes have power. They can unify help to unify an image in addition to visual elements such as gestalt through the interrelated thematic content they present. However, scattering a lot of similar objects around the picture plane does not ensure thematic unity. The objects must look as if they have a reason to be there and are sharing space for a reason.

the content theme is that of kitchen utensils and objects, yet by arrangements of the objects together with their united purpose a powerful and harmonious set of images is created.

Themes can be be deep and profound, such as love or war, but can also be mundane and still maintain a beautiful visual unity and message. In the images above by photographer Jan Groover, you will note

Instead of feast tables or objects in the rooms of the wealthy, the still-life tableaus that first brought Ms. Groover to prominence in the late 1970s focused on the everyday implements of the kitchen,

About the artist - “Jan Groover’s relentlessly formal still lifes of mundane objects brought a sense of Renaissance stateliness to postmodern photography

arranged in the sink: fork tines, spatulas, butter-knife blades, whorled and scalloped cake pans, shot in such a way as to confound perspective and to transform light into a kind of object itself in the reflective surfaces.

The pictures resonated not only as subtle documents of feminism but also as unusually beautiful investigations of the fictions that are inseparable from facts in the conventions of photography.” Randy Kennedy, NY Times, January 11, 2012.

LUCTU S Containment & Gestalt Containment

Gestalt

The Picture Plane. There will be an established relationship among design elements when they share a common boundary. We will refer to this boundary as the picture plane. The shape of the picture plane can create relationships and associations all on its own. A horizontal rectangle as border will aid in a landscape or panoramic view, while a vertical rectangle can create rising or falling movement. A square is neutral, and will

Gestalt is a German term for psychological theory essentially meaning “the whole is greater than the sum of it’s parts.” This theory basically states that the whole of the image perceived will be understood before the individual elements making up the image will be examined. Knowing this, a designer will create specific relationships among separate elements to create a unified image/message. A simple element of gestalt theory is Proximity - A way of making separate elements look as if they belong together is by putting them close together: the closer elements are to each other, the more likely we will see them as a group. Proximity is how we are able to read; letters placed close to each other become words, where the same letters spaced apart makes the work more difficult to comprehend. Proximity is one of the easiest ways to achieve unity.

accentuate the movement inside it’s boundaries through contrast. The designer can accent the message communicated simply by the form the boundaries take.

The PICTURE PLANE is the flat two-dimensional surface on which we draw or project an image. It is usually defined by a rectangular border. It is within this border that we create the illusion of space or contain the interrelationships of shapes, lines, and other design elements.

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L Repetition UCTUS Repetition Repetition is based on grouping by similarity; elements that are similar visually are perceived to be related. Any element can be repeated line, shape, color, value or texture - as well other things such as direction, angle or size. Repetition helps unify a design by creating similar elements and is one of the most effective ways to unify a design.

The color print titled “Lysergic Acid Diethylamide" by Damien Hirst to the right shows multi-colored dots in a simple grid pattern. The repetition of the dots and the colors shows two levels of similarity, one based on the shape, and the other based on the colors.

In the design quote made typographic by Carly Fairbanks, far right, the repeated curving forms of the cursive lettering hold the image together.

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CH APTER 2 Continuation

Continuation Continuation means that something (a line, an edge, a curve, a direction) continues from one element to another. The viewer’s eye will follow the continuing line or edge smoothly from one element to other and the mind will group the elements because of this connection. Implied lines are one example of continuation.

In this Major League Baseball promotion by the design group HelloMe the broken type forms create a series of diagonal implied lines that hold the image together and help maintain legibility.

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C HAlignment APTER 2

Alignment

Alignment consists of arranging elements so that their edges are lined up. The common alignment allows the eye to group those elements together. A grid is often used to create unity through alignment.

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C H A P of TE R 2 Summary UNITY

Or, to summarize, good design follows the CRAP rules...

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Design & Communication | ARTS102

Lesson One: Part 2 Elements & Principles of Design Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

H A P T E R |3 ARTS102 Design &CCommunication

Design & Communication: Elements & Principles THE BASIC ELEMENTS AND PRINCIPLES OF 2-DIMENSIONAL DESIGN In this course we will examine the elements and principles of two dimensional design. The elements are the "what" of a design and the principles are the "how." Using a recipe metaphor - the elements are the ingredients and the principles are the directions. The elements of design include line, shape, space, value, texture, color. Put together skillfully, they create effective visual communication.

The principles of design, perhaps even more than the elements, are difficult to separate from one another even for the sake of discussion, as it is only when they are working together that an effective design is created. From the J. Paul Getty Museum‌ The principles of design describe the ways that artists use the elements of art in a work of art.

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CHAPT R 3 Principles ofEDesign

Definitions for Principles 1. Balance is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable. In symmetrical balance, the elements used on one side of the design are similar to those on the other side; in asymmetrical balance, the sides are different but still look balanced. In radial balance, the elements are arranged around a central point and may be similar.

5. Repetition works with pattern to make the work of art seem active. The repetition of elements of design creates unity within the work of art.

2. Emphasis is the part of the design that catches the viewer’s attention. Usually the artist will make one area stand out by contrasting it with other areas. The area could be different in size, color, texture, shape, etc.

7. Rhythm is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Rhythm creates a mood like music or dancing. To keep rhythm exciting and active, variety is essential.

3. Movement is the path the viewer’s eye takes through the work of art, often to focal areas. Such movement can be directed along lines, edges, shape, and color within the work of art.

8. Variety is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through and around the work of art.

4. Pattern is the repeating of an object or symbol all over the work of art.

6. Proportion is the feeling of unity created when all parts (sizes, amounts, or number) relate well with each other. When drawing the human figure, proportion can refer to the size of the head compared to the rest of the body.

9. Unity is the feeling of harmony between all parts of the work of art, which creates a sense of completeness.

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CHAPT R 3 Principles ofEDesign

The Art of Lauren Rolwing Let’s examine some of the principles of design, as well as some of the unifying factors discussed previously in this chapter in part one, working toward Visual Unity, in the work of an individual artist.

By looking at one artist with a consistent style and use of form, we are exercising Thematic unity as well. The artist chosen is print and fashion illustrator Lauren Rolwing. Rolwing is a Knoxville-born illustrator and a graduate of the Savannah College of Art and Design.

Clients include The New York Times, Brummell Magazine, Harper's Bazaar and Refinery 29. You can visit her website here: http://www.laurenrolwing.com/

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CHAPT R 3 Principles ofEDesign

Balance. The imagery runs off the center, with almost equal space around the hands and the object on the left.

Emphasis. The isolated red lips on the white ground help the area stand out. Add to that the fact that it is the only red shape in the composition, while all the other colors are repeated, gives the area the visual strength to be a focal point.

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CHAPT R 3 Principles ofEDesign

Movement. The diagonal tree, canoe, paddle and waves help create the illusion of movement in the composition.

Pattern. The use of the white pattern over the top of most of the image helps to unify by being consistent throughout the whole image.

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CHAPT R 3 Principles ofEDesign

Repetition. The repeated lip forms, in the same color as the background, pull the space together and give an overall consistency to the whole image.

Proportion. The abstracted parts of the image fit together, and relate to the size and scale of a human figure and a wine glass.

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CHAPT R 3 Principles ofEDesign

Rhythm. The repeated curved lines of the hair, glasses and plants create a slow visual rhythm, which unifies the image by consistency of that gentle movement.

Variety. Circles, rectangles, horizontal, vertical and diagonal shapes provide a variety of forms, while being unified through that variety and by the placement of the objects in the composition.

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CHAPT R 3 Principles ofEDesign

Grids. The lines of the background grid up with the interior lines and shapes forming the illusion of a woman in a dress.

Continuation. Implied line and connection occurs from the gaze of the man in the sunglasses back to the woman in the foreground. We also move from the man to the beach loungers to the woman in the background by the diagonal implied line in the composition.

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CHAPT R 3 Principles ofEDesign

Proximity. The closeness of the different circular and oval forms on the figure imply they are patterns on the clothing, and group together to make the illusion of a figure. They also repeated the circles of the background.

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LUCTU S Assignment: UNITY Helpful Tip: Please refer to your software instructions or use the Adobe help website.

Try to google photoshop questions or refer to online YouTube tutorials to get familiar with Photoshop shape tool, layers and move and rotate tool.

Objectives: • Begin to become familiar with the software Photoshop • Begin to use the principles of unity to create art • Visually communicate assigned words

ASSIGNMENT PART 1: Using the principles of Unity learned thus far, you will fill the template provided visually communicating the essence of the meaning of the following three words: Increase, Tension, or Order.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation:

Open the template provided in the folder using your software. Using the shape tool, draw 4 BLACK squares of equal size in each space on the template on separate layers. Use new layers for each square, then copy, paste and move/rotate tools to manipulate the shapes to visually represent a word in the boxes provided. (use only one word per box, and please label your work) Please fill the template with your best interpretation in the larger space at the bottom.

1. What principles do you think you used to create your art?

2. Tell me about your design process.

3. What do you like about your art? What can you do better next time?

This assignment is worth 10 points.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Good Luck!

For example: You could execute two sketches order, two sketches for tension and two sketches for increase within the top six smaller squares on the template. Choose what you believe to be the best. You may wish to refine, and copy, paste in the larger, bottom square on the template for a grade. Save the file as LOW RESOLUTION JPEG.. This is done by using FILE>SAVE AS>JPEG>Low. Name your file with your lastname_lesson1.jpeg and upload to the dropbox provided for Lesson 1, Unity.

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Design & Communication | ARTS102

Lesson Two Emphasis Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: EMPHASIS THE PRINCIPLE OF EMPHASIS IN VISUAL COMMUNICATION - OVERVIEW What is the design principle of EMPHASIS? It is a means by which a designer can direct the viewer to an element within a composition that conveys a message. It’s purpose its to attract the viewer’s attention, without which any message or meaning could be lost.

We rarely view art in a vacuum. Billboards, store signs, traffic signs and signals all compete for the motorist’s attention. Two ads placed next to each other on a magazine page vie for the viewers attention.

An internet site can have multiple images, flashing graphics and sounds. Out of this, the designer must create imagery that will attract attention, not only to the image itself but to the desired content as well. What the designer does is bring clarity out of chaos in a means best suited for the message. One

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means of creating clarity is to direct the viewer to a visual FOCAL POINT. The FOCAL POINT is the dominant element within our composition that draws the eye, and the leads the viewer into a more in-depth examination of the image. It may be accompanied by a lesser pint or points of emphasis called ACCENTS. The focal point is the heart of the composition. Accents can be enrichments to the “story” being told. It is similar to using BOLD TYPE IN ALL CAPS to emphasize text, or a spotlight on stage to highlight the star of a performance.

Emphasis

Focal points are achieved by creating conditions wherein one form or group of forms is emphasized over another. We are going to show several examples of the different ways we can achieve emphasis in design through size, contrast and isolation.

Examples of emphasis achieved by SIZE

In the painting Red Flush by Jules Olitski, oil on canvas 1963, right, the large orange shape dominates the composition by size. The lime green circle becomes an accent point by contrast of color and isolation.

In the corporate logo, below, designed by Paul Rand, the “O” of the title functions as a letter, but also as a metaphor for a sun rise.

Rand created a final design that played on the source of the company’s name—the last line in Thoreau’s Walden, “The sun is but a morning star.” It becomes a focal point by being larger than the other letters, and of a different style.

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LU CTUS Emphasis

The objective of contrast is to produce maximum visibility. The more contrast there is the more noticeable an item is. Learning how to use contrast is a matter of knowing how much is needed and how to achieve that contrast.

Emphasis through CONTRAST

The small black rectangle, right, dominates the lighter gray ones by contrast, and becomes the focal point.

In the classic poster of Bob Dylan designed by Milton Glaser in 1966, the contrast of the black silhouette of Dylan’s face dominates over the psychedelic hair and white ground of the image.

We see the outline of Dylan as focal point, then relate to the hair, the color, and the time and place of the design as accents relating more of the story.

In the image, lower right, the blue rectangle dominates the other yellow and white spaces, drawing our eye, creating color contrast.

Above: To see more of Milton Glaser’s iconic Graphic Design work please visit: http://www.miltonglaser.com/

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C H Emphasis APTER 2

Emphasis through COLOR CONTRAST One of the greatest possible contrasts in art is the difference between black and white (value contrast).

Color contrasts can be strong but usually not as strong as value contrasts. Bright colors are more attractive (attract attention) than dull colors. There is room for a great deal of manipulation in color and value. That is one of the reasons that color is so difficult to use well.

The painting on the left titled “Mrs. Hugh Hammersly”

by John Singer Sargent, oil on canvas 81” x 45”, 1892, is an example of emphasis by color contrast. The red dress of the figure is contrasted against the brown ground, and as it is so different in color and character from the ground it draws our immediate attention. Also the placement of the figure near the center of the composition allows for it to immediately gain the viewers attention.

In the 75” x 48” oil on canvas painting by Hans Hofmann on the far left titled “The Gate”, circa 1959, the red rectangle draws our eye by color and placement. It is an example of Hofmann’s theory of color in painting called “Push/Pull,” where colors, by their proportion and shape, “pull” against each other and the edges of the picture plane.

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C H Emphasis APTER 2

Emphasis through ISOLATION

Isolation is a kind of placement -- where something is put. An item that stands apart from its surroundings will be more noticeable. This doesn’t always make an item be noticed first BUT can make one item stand out. Where you put objects in the format and in relationship to other objects can strongly affect emphasis.

In the center image, the square that is set apart from the others draws our eye as the stronger visual attraction.

Far left, In this Walker Evans photo, emphasis is achieved by isolation, the manhole cover is the only recognized shape among a very similarly valued and textured street surface.

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The painting “The Gross Clinic” by Thomas Eakins, 8” x 6.5’ 1875, depicts a medical school demonstration. The standing figure becomes the focal point by isolating his lit head in the darkness of the arena background, drawing our eye first.

Notice in each of the examples the focal point is not directly centered. Centering can and often does appear as too obvious. They are not too close to the edge of the composition either; this can lead the viewer out of the picture as well.

C H Emphasis APTER 2

Emphasis with DIRECTION Direction, also called continuance, describes a device for directing the viewer's attention when looking at a composition. It is based on the idea that once you start looking in a particular direction you will continue looking in that direction until you see something significant.

Notice the arrows on your right. We are drawn to the upper arrow by its placement above and in a different direction from the other arrows. A simple example is shown here. All kinds of pointing devices are used in design.

came to represent the isolation and

Many of these are more subtle than a

hopelessness of poverty. We are drawn to

pointing arrow.

him visually by his facing the opposite way of the other men, as well as by diagonals of

Dorothea Lange’s photo “White Angel

the fence and the row of mens hats moving

Breadline” of 1932 is an important image

the viewer to him. His empty cup becomes

documenting the tragedy of the Great

a metaphor for the state of the nation

Depression. This image of a clearly

during this time of want.

downtrodden man and his empty cup

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C H Emphasis APTER 2

Emphasis with ECONOMY It takes our brain milliseconds longer to process the outlines and details of a complex image over a simple one. This gives the image more importance just by time spent understanding it.

In the contemporary book cover, upper left, by designer Chip Kidd we are drawn to the complexity of Superman’s face, in it’s color and detail, as a focal point, before moving to the accent of the simpler drawn fist in black and white.

The focal point establishes the visual priority of the image. The designer may enhance the message by using subordinate imagery around the focal point, or may choose to reduce the image to it’s most essential elements.

Visual economy, also known as SIMPLICITY, is the omitting of all non-essential elements which don’t contribute to the overall composition in order to emphasize what is important. Much of good design focuses on what is left out, rather than trying to

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include everything you can. There are no rules for using economy, if an element works in a composition with respect to the whole design or the content it should be kept. If it detracts, it should be re-evaluated.

Never use anything for its own sake, always justify its inclusion for the contribution it makes to the overall content or design effect.

In Richard Avedon’s photograph of Judy Garland, lower left, he has the “background” reduced to pure negative space without any other visual information.

This illustrates the concept of ECONOMY, distilling an image to it’s essential parts. In this example this directs the eye to the focal point of the face of the figure. The intent of the image is to reveal inner feelings and personality of the subject and without lesser imagery around her this is all there is to see

C H Emphasis APTER 2

Emphasis with ECONOMY In the first two images by Utawara Hiroshima shown below the blank, or negative, space serves as a void, whether it is open space as in “Fireflies” or as softer and less distinct background imagery in the “Irises”. Again, the images have been reduced to only essential information.

36” x 29” 1893, several visual devices are used to add to the tension and anxiety of the image. The sky, painted in unpleasant colors and moving in a rhythmic yet unnatural manner, suggests fear and anxiety. The strong diagonal leading back to two unknown figures enhances the sense of distance from human contact. Are the men walking away, or are they following? All these additions to the image help reinforce the image of panic of the focal point figure.

Background imagery can also be used aggressively to support the narrative.

In Edvard Munch’s painting “The Scream”, shown bottom right, oil on canvas

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C H Emphasis APTER 2 Absence of Emphasis

Absence of a focal point is sometimes used as a compositional device. Absence can be a bad thing in commercial images, as the viewer has no idea of what is being promoted. It IS desirable in textiles, where a focal point on a piece of clothing, drapery, or wall paper could be very distracting. The blue textile example above has no focal point.

Absence can be used for purely theoretical reasons, as in the work of Jackson Pollock seen above. From the Metropolitan Museum of Art, quote: “In this non-representational picture, thinned paint was applied to unprimed, unstretched canvas that lay flat on the floor rather tan propped on an easel. Poured, dripped, dribbled scumbled, flicked,

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and splattered, the pigment was applied in the most unorthodox means… there’s no central point of focus, no hierarchy of elements in this allover composition in which every bit of the surface is equally significant… the artist worked with the canvas flat on the floor, constantly moving all around it while applying the paint and working form all four sides. “

C H Emphasis APTER 2

Comparing and Contrasting HOW ARTISTS USE EMPHASIS AND ECONOMY DIFFERENTLY Economy or Not. A lightning rod between different cultural valencies (high/low, ancient/modern, oriental/ occidental), Takashi Murakami (1962-present) has stated that the artist is someone who Type to enter text

understands the borders between worlds and who makes an effort to know them. With his distinctive “Superflat”, style and ethos, which employs highly refined classical Japanese painting techniques to depict a super-charged mix of Pop, animé and otaku content within a flattened representational picture-plane, he moves freely within an ever-expanding field of aesthetic issues and cultural inspirations.

In the work, left, Murakami packs his images with repeated elements into a compressed pictorial space (inside the picture plane) for an eccentric and visually flattened artwork.

Visit more Takisha Murakami work at http://www.gagosian.com/artists/takashi-murakami

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C H Emphasis APTER 2

Visit more Takisha Murakami work at http://www.gagosian.com/artists/takashi-murakami

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LUCTUS

Emphasis

Compare & Contrast Contrast the previous images of Murakami’s work with the illustrative ads created by designer Michael Schwab, whose images develop very simple relationships of color and shape to become representative of economy in design.

Michael Schwab lives and works in northern California. He has established a reputation as one of America’s leading graphic artists. His work is recognized by his use of large, flat areas of color, dramatic perspectives and bold graphic images. His work is dramatic in its simplicity.

Visit more Michael Schwab work at http://www.michaelschwab.com/

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C H Emphasis APTER 2 Compare & Contrast Born in Matsumoto City, Japan in 1929, Yayoi Kusama studied painting in Kyoto before moving to New York in the late 1950s, and by the mid-1960s had become well known in the avant-garde world for her provocative happenings and exhibitions. Since this time, Kusama's extraordinary artistic endeavors have spanned painting, drawing, collage, sculpture, performance, film, printmaking, installation and environmental art as well as literature, fashion and product design.

In the installations of her exceptionally busy paintings at right, note there is little breathing room, or rest space, filling the entire picture plane with detailed imagery.

Visit more work from the artist at http://www.victoria-miro.com/artists/31-yayoikusama/

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C H Emphasis APTER 2 Compare & Contrast Contrast Kasama’s work with these installations of paintings created by Doug Ohlson, whose images are simple relationships of color and shape are representative of economy in design.

Ohlson was born in Cherokee, Iowa and attended Bethel College before serving in the United States Marine Corps. After completing his military service, he attended the University of Minnesota, where he was awarded a degree in studio art in 1961. He moved to New York City, where he studied at Hunter College See more of Olson’s work at http://www.dougohlson.com/

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Assignment: EMPHASIS

Objectives: • Begin to visually communicate EMPHASIS in a composition • Begin to use size, contrast, isolation and direction to convey Emphasis • To continue to develop Photoshop/software skills in art.

Helpful Tip: Please refer to your software instructions or use the Adobe help website.

Try to google photoshop questions or refer to online YouTube tutorials to get familiar with Photoshop type tool and fonts. Build on your knowledge from the last assignment in layers and move/rotate tools.

ASSIGNMENT PART 1: Using the principles of Unity and Emphasis learned so far, you will fill the template provided to visually communicate Emphasis using size, contrast, isolation and direction techniques as discussed in this E-book. You will create 6 compositions on the template provided. Using only letterforms and/or symbols as basic shapes in your composition. Research “type as art” for good examples.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation: 1. What methods of Emphasis did you use to show a focal point?

2. Tell me about your fonts… what fonts did you use and at what size?

3. What do you like about your finished art?

4. What can you do better next time?

Open the template in the lesson folder using your software. Using the text tool, select letters or symbols from the fonts of your choice. Use new layers for each letter (or symbol), then use copy, paste, move/rotate tools and font sizes to manipulate the letterforms or symbols in a composition.

This assignment is worth 10 points.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Enjoy!

• Use black, white and grey ONLY. No color.

• Use one font family per square on the template.

• Include letters in upper and lower case, numbers and symbols as desired • Any font may be used in regular, bold or italic style as desired.

• Do not spell out words - use random letterforms, numbers and symbols.

Feel free to be as creative as you wish; use other tools or options as you are comfortable within the limitations of the assignment. Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson2.jpeg and upload to the dropbox provided for Lesson 2, Emphasis.

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Design & Communication | ARTS102

Lesson Three Balance Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: BALANCE THE PRINCIPLE OF BALANCE IN VISUAL COMMUNICATION - OVERVIEW In creating any composition there will be a distribution of elements within the picture plane. Each of these elements will have a level of strength relative to each other within the existing picture plane. We call this their VISUAL WEIGHT. Visual Weight can be manipulated by the designer to achieve an equilibrium of elements within the picture plane. This is BALANCE. Humans have a natural sense of balance in body and in observation of their surroundings; imbalance is disturbing in that it can indicate imminent danger, such as from falling objects or leaning rocks. We naturally are uncomfortable with the imbalance. So too are we uncomfortable with unbalanced imagery. This discomfort impedes the clarity of the visual message we are sending. As a general rule, imagery therefore needs to be balanced to achieve effective visual communication.

(An exception to this might be where discomfort is the intended communication,

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in which case an unbalanced composition may enhance the message.)

Elements within a composition will have differing visual weights. To begin, we must establish that almost all two dimensional visual imagery exists within a frame of some kind. It could be the edges of a piece of paper, a wooden picture frame or paper mat, or it could be the edges of the TV/ movie screen or web graphic. These edges create a plane of reference we will refer to as the PICTURE PLANE. As an analogy, consider it the window in the wall, where the illusion of 2D or 3D space is occurring.

Once the picture plane is established, there are many visual devices the designer can use to enhance the clarity of their visual message.

Within the picture plane itself, different portions of the visual field exert themselves in a variety of ways on a composition.

Balance

A rectangular picture plane creates vertical and horizontal movement along its edges as seen above . Any mark or line placed within this picture plane repeats or counters the borders. Points of intersection at the corners draw the viewer’s eye to the corners of the image. Any reinforcement of the corner “arrows� enhances the implied movement out of the image.

The edges of the picture plane above create a strong visual pull that increases the visual tension of forms as they near the edges.

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In the image above, the bottom of the picture plane seems to visually contain more weight because of our learned perception of gravity. An object placed near the bottom of the picture plane will appear heavier than an identical object placed higher in the composition. This illustrates the concept of visual weight.

L UBalance CTUS

Balance of Visual Weight As seen in the top left image, solid shapes generally weigh more than open shapes.

In the top right image, the vertical, horizontal, or diagonal orientation of a line or shape will also affect its visual weight. Vertical and horizontal orientations repeat the edges of the picture plane, providing stability to the shape and a sense of being at rest. Diagonals create movement, which is dynamic. All other elements being equal, a dynamic shape will draw more attention than a static one.

In the bottom left image, the right side of the picture plane has more visual weight because of our tendency to scan left to right from our method of reading. Objects placed on the right side will have more visual weight than those on the left. (In cultures where text is read from right to left the opposite would be true.)

In the bottom right, objects placed in the center of the picture plane will have a greater visual weight than those placed around it.

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C H ABalance PTER 2

Balance through Symmetrical Placement

SYMMETRICAL Balance is where one side of an image is essentially the mirror image of the other; where similar shapes are repeated on both sides of a vertical axis. It is also known as formal balance and by nature it is steady and repetitive.

Mark Grotjahn, oil on Canvas, 2005

In the Last Supper, above, Da Vinci establishes Christ as the center of the image, with all lines of perspective moving back toward him. The disciples are equally spaced on his side. If the image were divided in half it would be essentially

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the same on both sides. Refer to the line drawing depicting this on the top right.

In the oil on canvas by Mark Grotjahn, far left, notice the symmetry between the two sides of the image. If divided in half and laid over it’s opposite side, the images align. This is symmetrical, or formal balance.

C H ABalance PTER 2

Balance through Asymmetrical Placement

ASYMMETRICAL Balance is where a composition is balanced by differing objects that have similar visual weight. It is also known as INFORMAL Balance. It is active and suggests movement.

In the posters for the NYC Ballet designer Paula Scher balances the dancers, which are posed in diagonals implying movement, with text and the white negative space, creating a balanced image by visual weight.

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C H ABalance PTER 2

Balance through Asymmetry

The six panel screen painting, right, by Tohaku is balanced by large empty spaces dividing the fog-laden trees in the image.

In the Edgar Degas art below from the 1880’s, notice how he uses the diagonals of the arms and legs of the dancers to move the viewers eye through the image.

This creates an active composition. Also note how the composition is balanced by the large negatives spaces, the clear area in the drawing and the muted scenery in the painting. This is balanced by visual weight.

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C H ABalance PTER 2

Balance through Radial Placement RADIAL Balance is achieved by elements radiating out of a central position. One of the most common uses of radial balance is to base imagery on a spiral, creating constant movement from a central area.

In this painting by Peter Paul Rubens on the left, the characters are consciously twisted, capes fly, and eye directions of both humans and horses are arranged to build on the spiral composition. This creates an image of constant movement. (See inset spiral flow at bottom left.)

Radial balance can also be steady and still, as in this color field painting below right by Kenneth Noland.

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C H ABalance PTER 2

The Rule of Thirds The rule of thirds simply states that if you take a canvas and divide it into three equally sized horizontal sections and three equally sized vertical sections, the resulting grid provides a sort of “roadmap” that helps you choose where to place your design elements.

Any graphic design software worth its salt (including Photoshop) can apply a rule of thirds grid to your canvas and crop accordingly, but grids are easy enough to make on your own—you could even draw it directly onto a printed design if you wanted to.

The rule of thirds grid can be applied to any size design—the grid itself doesn’t have to be any particular dimensions. It just has to be evenly divided into three vertical and three horizontal section. This creates a 3×3 grid— kind of like the opening title card of “The Brady Bunch.” That doesn’t necessarily mean you’ll end up with nine equally-sized squares. If your design isn’t a perfect square, you’ll probably be splitting it into nine rectangles.

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C H ABalance PTER 2 Visual Communication & Balance The specific balance of an image alone communicates an enhanced visual message.

Asymmetry, through the conventions of using visual weight to cause balance, has a tendency to build toward diagonals, thereby implying movement. The illusions may be more threedimensional, and establish tension and interest within the picture plane. An asymmetrical design will enhance a communication regarding action or activity. Change demands attention.

Symmetry leads to interpretation as figure. (We are, for the most part, symmetrical beings) Asymmetry is active, dynamic, and spatial.

Composing with this knowledge allows the designer to reinforce their intended message by simple placement of elements.

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CHA PTER 2 Balance

Comparing and Contrasting HOW ARTISTS USE BALANCE DIFFERENTLY Symmetry can be conservative and stable, but it does not need to be boring. Consider the book covers designed by Chip Kidd on this page. If you draw a line down the vertical center of the images, the left side would be essentially the same as the right, yet the images are informative and dynamic.

Charles (Chip) Kidd (born September 12, 1964) is an American graphic designer, best known for his innovative book covers. Based in New York city, Kidd has become one of the most famous book cover designers to date.

Kidd is currently the associate art director at Knopf, an imprint of Random House.

Kidd’s influence on the bookjacket has been amply noted— Time Out New York has said that “the history of book design can be split into two eras: before graphic designer Chip Kidd and after.”

View chipkidd.com for more information and imagery from this very interesting designer

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L UBalance CTUS Compare & Contrast Balance in Fashion Illustration

Fashion Illustration is the communication of fashion that originates with illustration, drawing and painting. An illustrator draws and paints clothes for commercial use. It is usually commissioned for reproduction in fashion magazines as one part of an editorial feature or for the purpose of advertising and promoting fashion makers, fashion boutiques and department stores. A fashion illustrator is someone who creates drawings, sketches, and other works of art which pertain to the fashion industry.

Fashion Illustration is more of an expression.

Read more: http:// textilelearner.blogspot.com/2012/10/fashionillustration-elements-of.html#ixzz47jqUIXPS

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CHA PTER 2 Balance Compare & Contrast Balance in Fashion Illustration

François Berthoud, shown in the last 4 images, is now recognized as one of the most original fashion illustrators of the late 20th and early 21st century. More and more avant-garde fashion designers asked him to create their corporate images. Anna Piaggi has written about him: “While François illustrates fashion in an apparently formal and decorative way, in reality he analyzes his subject in depth and with an elegant sense of detachment before recreating it in his atelier-laboratory…. he experiences fashion with a sharp sense of irony and a visual culture rooted in conceptual art. But his style is totally now!”. from http://www.fashionillustrationgallery.com/ artist/francois-berthoud/. Check the web site to see more images.

Note the movement that is achieved in the figures purely by the gesture of the pose.

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CHA PTER 2 Balance Compare & Contrast Balance in Fashion Illustration

Compare the symmetrical work of Berthoud with the asymmetrical compositions of fashion illustrator Tanya Lin. Note how her compositions are based on diagonals, and have movement through the directional lines created by the diagonal arrangements.

Tanya Ling’s work as a fashion illustrator has been exhibited internationally and has been featured in numerous newspapers and publications. In 2009 she was appointed as the Creative Director of Veryta founded by Filippo Binaghi and Stefano Pilati and in 2011 over 50 for her drawings were acquired by the Victoria and Albert Museum in London. http://www.tanyaling.com/

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CHA PTER 2 Balance Terms & Definitions

Asymmetrical Balance Achieved by using dissimilar objects but with equal visual weight or emphasis. Artwork without any visible or implied axis, displaying an uneven but balanced distribution of elements.

Balance A sense of equilibrium achieved through there being equal amounts of implied weight or emphasis in the elements of a composition, when distributed either side of an axis.

Radial Balance A composition in which all elements are balanced around and radiate from a central point.

Rhythm A continuance, flow, or sense of movement achieved by repeating and varying motifs and using measured accents.

Symmetrical A mirror-like duplication of a scene or group of elements on either side of a (usually imaginary) central axis.

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Assignment: BALANCE

Objectives: • Begin to visually communicate BALANCE in a composition • Use Symmetrical. Asymmetrical and Radial balance in a composition • To continue to develop Photoshop/software skills in art.

Helpful Tip: Please refer to your software instructions or use the Adobe help website.

Try to google photoshop questions or refer to online YouTube tutorials to get familiar with masking clipart/removing background. Build on your knowledge from the last assignment in layers and scale/move/rotate tools.

ASSIGNMENT PART 1: Using the principles of Unity, Emphasis and Balance learned so far, you will create images representing the 3 types of balance learned in this chapter; Symmetrical, Asymmetrical and Radial Balance. Create balanced compositions that have unity and a focal point (Emphasis).

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation:

Open the template in the lesson folder using your software. Make compositions using the coffee cup art provided, or feel free to google search or draw your own coffee cup or mug. You will create 3 designs for each type of balance: Symmetrical, Asymmetrical and Radial - filling the 9 squares on the template provided. Consider adding the steam from a hot cup, too, if you wish.

1. How did you use Balance in your designs?

2. Which type of Balance was the hardest for you to achieve successfully?

3. What do you like about your finished art?

4. What can you do better next time?

• Use black, white and grey ONLY. No color.

• Use unity in all designs • Use emphasis in all designs • Copy and paste cups to create multiple cups for each design (repetition) • Label the type of balance used in each design

This assignment is worth 10 points.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Enjoy!

Feel free to be as creative as you wish; use other tools or options as you are comfortable within the limitations of the assignment. Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson3.jpeg and upload to the dropbox provided for Lesson 3, Balance.

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Design & Communication | ARTS102

Lesson Four Rhythm Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: RHYTHM THE PRINCIPLE OF RHYTHM IN VISUAL COMMUNICATION - OVERVIEW Visual rhythm is created by the designer moving the viewer’s eye across and around an image usually through repetition of various structural elements.

It is the pattern of movements created by the way marks and spaces are organized. Visual rhythm needs contrast to function, whether it is soft versus hard, dark versus light, slow versus hectic.

It is achieved in the same ways we create emphasis, but with the added element of a progressive repetition within the composition.

One thing we must consider in developing visual rhythm is the negative shapes, or “white spaces,” that are the equivalent of silence in music…without the rest areas the design would be a

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jumble of shapes without pattern or structure.

In the photo by Harry Callahan, top, the black grasses become the notes and the white spaces of the snow become intervals of silence or rests in musical terms. The framing of the image by the photographer takes a natural event and turns it into a rhythmic movement across the composition.

Edward Weston’s photographs also promote rhythm in nature. Here curvilinear form is repeated to create a visual movement in and around the image. Notice that in looking at this image, bottom, your eye never really comes to a rest, but continues to flow through the composition.

Rhythm

Curvilinear Form and the Concept of “Legato” Repetition of curvilinear lines enhance expressive power and movement in the fashion illustration at right by Jacqueline Bissett. Notice that they are not anatomically correct, but the line and washes respond to the movement and the character of the models and clothing presented.

In musical notation the term Legato is used to indicate music without breaks between notes, smooth and connected, structured and continuous. In reference to visual art the term Legato can denote connected and flowing movements.

ABOVE: “Arrest,” Karin Davie, 72” x 96,” oil on canvas, 1998

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L URhythm CTUS

Here in this abstract paintings by Karin Davie multiple curving forms repeat and overlap each other to create a constantly moving rhymes sensation. The viewer’s eye cannot rest in any part of the image but is skillfully moved from one area to the next by the pattern and repetition of light and dark and thick and thin.

“Between my Eye and Heart no. 12,” Karin Davie, 66” x 84,” oil on canvas 2005

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CHA PTER 2 Rhythm Rectilinear Form and Staccato

Opposite of the slow, flowing movements of the below are the rapid, staccato changes in rhythm presented here in these paintings by Piet Mondrian. Staccato refers to violent, abrupt changes in the rhythm just as it does in music. Note that while the images are composed on grids, giving them unity, the intervals of the grids themselves and the color notations within them move the viewer quickly through with sharp turns and movements.

The Larry Poons painting far right has dispersed short brush strokes working in multiple directions creating a staccato rhythm within the picture plane.

“Broadway Boogie-Woogie,” Piet Mondrian, 50” x 50,” oil on canvas,1942

“Glass Coach Louisville,” Larry Poons, oil on canvas 2007

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CHA PTER 2 Rhythm

Alternating Rhythm Alternating rhythm is the simplest type of rhythm to achieve. It is the placement of opposites in a repetitive pattern. As it is so simple, it can become monotonous. Artists work with other elements such as color to add subtlety to the imagery, as in this landscape painting, below, by Wolf Kahn or abstract painting, right, by Gene Davis.

“Passion Flower,” Gene Davis, Screenprint, 1968 “Small Orange Corner,” Wolf Kahn, 26” x 26,” oil on canvas, 2009

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CHA PTER 2 Rhythm

Islamic Art and Pattern Alternating rhythm can be found in the genre of Islamic art, a tradition of using geometric decorative motifs to express natural designs. The use of geometry is important in the development of Islamic design. The use of purely geometric elements to create elaborate patterns, though, has become a sophisticated form of decoration on its own. The appeal of Islamic decoration lies in its logical interrelation of parts, reflecting in abstract form the underlying order found in nature.

Among the most important aspects of Islamic geometric design are repetition and variation. A series of tiles, for example, may consist of only one or two shapes but the patterns of the tiles may all be different. In other designs, a few different shapes may be combined to create a complex interlocking pattern.

Symmetry plays a part in most Islamic patterns.

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CHA PTER 2 Rhythm Progressive Rhythm

In progressive rhythm, each time a motif repeats

This evocation of elapsed time in a static

it changes a little, transforming and translating in

composition uses progressive rhythm to repeat

a steady sequence - the motif progresses from

yet change the forms used to indicate the form

one thing to another.

in motion.

Addressing what he later called “the problem of

In the relief sculpture “Case with 5 Balusters,”,

motion in painting,” Marcel Duchamp, seen far

below, by Louise Nevelson, we see a change in

right, repeats elements of the nude’s body in her

size and form that is repetitive in tone, material,

final steps down a precipitous spiral staircase.

and spatially dynamic.

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CHA PTER 2 Rhythm

The zigzag black and white lines in Blaze, left, create the perception of a circular decent. As the brain interprets the image, the progressively alternating pattern appears to shift back and forth. The interlocking lines add depth to the form as it rhythmically curves around the center of the page. In “Breathe,” Bridget Riley, right, here again the subtle changes of form create movement across the picture plane through progressive change.

The paintings here are examples of Op Art by Bridget Riley. Op Art captured the imagination of the public and became part of the “swinging sixties”. The fashion, design and advertising industries fell in love with its graphic, sign-like patterns and decorative value. The basis of the Op Art movement was a form of geometric abstraction, which was in a way impersonal and not obviously related to the real world. Patterns in black and white would undergo changes in form or tone to create illusions of space or movement, classic examples of progressive rhythm.

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CHA PTER 2 Rhythm Rhythm in Written Communication: Calligraphy The earliest examples of calligraphy come from China, where the art form was practiced as far back as 2,000 B.C. Early examples of Chinese calligraphy display a great deal of variation in character shape due to the lack of a standardized writing system.

Calligraphy is the design and placement of hand lettering with a broad tip style pen, ink dip pen, or calligraphic brush. Contemporary calligraphic practice can be defined as, "the art of giving form to signs in an expressive, harmonious, and skillful manner.

Okay Cat Art of Japanese Calligraphy

Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable.

Calligraphy continues to flourish in the forms of wedding and event invitations, font design and typography, original hand-lettered logo design, religious art, announcements, graphic design and commissioned calligraphic art, cut stone inscriptions, and memorial documents. It is also used for props and moving images for film and television, testimonials, birth and death certificates, maps, and other written works.

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CHA PTER 2 Rhythm Calligraphy Sacred Western calligraphy has some special features, such as the illumination of the first letter of each book or chapter in medieval times. A decorative "carpet page" may precede the literature, filled with ornate, geometrical depictions of bold-hued animals. The Lindisfarne Gospels (715–720 AD) are an early example.

As with Chinese or Islamic calligraphy, Western calligraphic script employed the use of strict rules and shapes. Quality writing had a rhythm and regularity to the letters, with a "geometrical" order of the lines on the page. Each character had, and often still has, a precise stroke order.

Unlike a typeface, irregularity in the characters' size, style, and colors increases aesthetic value, though the content may be illegible.

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CHA PTER 2 Rhythm Abstract Rhythm Observe the work of the painter Jackson Pollock.

Linear rhythms of skeins of paint are built up over the surface of the canvas, and the work process is as much a “dance” as any other physical exercise.

To view a Pollack painting video please go to: https://www.youtube.com/watch?v=lfwUxQrDGqw To visit more Pollack works online: http://www.jackson-pollock.org/

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CHA PTER 2 Rhythm

Comparing and Contrasting HOW ARTISTS USE RHYTHM DIFFERENTLY

Louise Nevelson emerged in the art world amidst the dominance of the Abstract Expressionist movement. In her most iconic works, she utilized wooden objects that she gathered from urban debris piles to create her monumental installations.

Although Nevelson's artistic subject matter included her personal feelings about an uprooted childhood, clashing cultures, and nature's divinity, the common thread of feminine biography dominated her output.

Nevelson purposefully selected wooden objects for their evocative potential to call to mind the forms of the city, nature, and the celestial bodies. In the collages of wood, masonite, paper and metal she works simple alternating rhythms evolving out of the simple geometric shapes she develops.

(Cited from below) www.louisenevelsonfoundation.org/

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L URhythm CTUS Compare & Contrast in Fine Art

Contrast Nevelson’s work with that of Romare Bearden, whose rhythms develop into frenetic changes and combinations of drawn and painted areas with bits of photographs and fabric. Bearden’s work could be considered to have Staccato rhythm.

Romare Bearden was born on September 2, 1911, in Charlotte, North Carolina, and died in New York City on March 12, 1988, at the age of 76. His life and art are marked by exceptional talent, encompassing a broad range of intellectual and scholarly interests, including music, performing arts, history, literature and world art.

Bearden was also a celebrated humanist, as demonstrated by his lifelong support of young, emerging artists.

His collages, watercolors, oils, photomontages and prints are imbued with visual metaphors from his past in Mecklenburg County, North Carolina, Pittsburgh and Harlem and from a variety of historical, literary and musical sources. Recognized as one of the most creative and original visual artists of the twentieth century, Romare Bearden had a prolific and distinguished career. He experimented with many different mediums and artistic styles, but is best known for his richly textured collages.

Cited from below, please visit the website for more information. http://www.beardenfoundation.org/artlife/biography/biography.shtml

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CHA PTER 2 Rhythm

Compare & Contrast Rhythm in Fine Art: Beardon

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CHA PTER 2 Rhythm Compare & Contrast Rhythm

In a larger format of gallery wall installations, we see similarities to the two artists above in the divergent approaches of painters Sol Lewitt and Daniel Buren.

Sol LeWitt earned a place in the history of art for his leading role in the Conceptual movement. Conceptual art, expounded by LeWitt as an intellectual, pragmatic act, added a new dimension to the artist's role that was distinctly separate from the romantic nature of Abstract Expressionism. LeWitt's work ranged from sculpture, painting, and drawing to almost exclusively conceptual pieces that existed only as ideas or elements of the artistic process itself. (Cited from theartstory.com) http://www.theartstory.org/artist-lewitt-sol.htm LeWitt's refined vocabulary of visual art consisted of lines, basic colors and simplified shapes. He applied them according to formulae of his own invention, which hinted at mathematical equations and architectural specifications, but were neither predictable nor necessarily logical. In the wall paintings shown here, notice the rhythms set up by the curvilinear lines and repetitions within the wall compositions.

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CHA PTER 2 Rhythm Compare & Contrast Rhythm in Fine Art: LeWitt

LeWitt's refined vocabulary of visual art consisted of lines, basic colors and simplified shapes. He applied them according to formulae of his own invention, which hinted at mathematical equations and architectural specifications, but were neither predictable nor necessarily logical. In the wall paintings shown here, notice the rhythms set up by the curvilinear lines and repetitions within the wall compositions.

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CHA PTER 2 Rhythm Compare & Contrast Rhythm in Fine Art: Buren Compare this with work of a similar nature, both in scale and concept, by artist Daniel Buren.

Daniel Buren is a site-specific artist whose imagery consists of vertical stripes. The stripes are a “visual instrument” that allow him to appropriate and transform space with paintings, sculptures and installations. As described by the Bortolami Dayan Gallery, he uses the generality of stripes “to create an art that defies a traditional definition of art as an object for aesthetic contemplation—[his work challenges] the conventional notions of where art can be seen and how it can be understood.” (cited from crownpoint.com) http://www.crownpoint.com/artists/91/biographical-summary

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CHA PTER 2 Rhythm Terms & Definitions

Alternating rhythm a rhythm created by repeating two or 
 more elements on a regular, interchanging, and anticipated basis.

Legato A connected and flowing rhythm.

Progressive Rhythm Repetition of shape that changes in a regular pattern, such as a series of circles that increase or decrease in size.

Staccato Abrupt, sometimes violent, changes in visual rhythm.

Visual Rhythm The pattern of movements created by the way marks and spaces are organized.

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Assignment: RHYTHM

Helpful Tip: Please refer to your software instructions or use the Adobe help website.

Try to google photoshop questions or refer to online YouTube tutorials to get familiar with masking clipart/removing background. Filters/effects are a great way to get started, try using Filter>Distort>Twirl>Shear.

Objectives: • Begin to visually communicate RHYTHM in a composition • Use repetition, balance and unity in a composition • To continue to develop Photoshop/software skills in art.

ASSIGNMENT PART 1: Using the principles of Unity, Emphasis and Balance learned so far, you will create images representing four themes: LAZY RIVER, IDLING HARLEYDAVIDSON, SEISMIC EVENT and SLOW DANCING. These images should be be non-objective in nature. Use lines shapes and strokes of different weights, length, color and direction in repetition to visually represent the SOUNDS these themes might take on. There are no right or wrong answers.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation:

1. How did you perceive the sound in each theme?

2. Tell me about the colors you chose - why did you choose them?

3. What do you like about your finished art?

4. What can you do better next time?

Open the template in the lesson folder using your software. Make compositions using line, pen and brush tool. You will create one design for each theme to fill the template. Feel free to explore the effects palette within photoshop to add visual enhancements - if you feel compelled.

This assignment is worth 10 points.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Enjoy!

• Yo may use COLOR for this assignment • Use simple line, shape to complete this assignment • The design should be non-objective -NO LOGOS • Balance the image with visual wieght • Emphasis can be created by using contrast Feel free to be as creative as you wish; use other tools or options as you are comfortable within the limitations of the assignment. Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson4.jpeg and upload to the dropbox provided for Lesson 4, Rhythm.

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Design & Communication | ARTS102

Lesson Five: Shape Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: SHAPE THE PRINCIPLE OF SHAPE AND SYMBOL IN VISUAL COMMUNICATION - OVERVIEW

Previously we have covered the concepts of the border, picture plane, focal point and the foreground and background, or figure/ground relationship. We will now elaborate on the concept of Positive and Negative shape as it relates to design, and move forward into varieties of shapes, and the creation and usage of symbolic shape communication.

The resource cited in this unit is “Perception and Imaging� by Richard D. Zakia, Focal Press, 2002, ISBN 0-240-80466-X Knowing that we will attempt to focus on something in a visual field, we can define a pair of distinguishable traits in an image as FIGURE and as GROUND, or refer to the Figure/Ground relationship. In the image on the right, the square is the figure, and the white is the ground. The image on the left is without figure.

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Shape

Figure and Ground Relationship “Water Bearers”, Henri Matisse, Cut and painted paper, 1950 Citing Zakia, “Several important observations can be made regarding figure-ground relationships: 1. Even though the figure and the ground are on the same physical plane, the figure often seems nearer the viewer.

For more information n this amazing artist.

Please visit: http://www.henri-matisse.net/

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L UShape CTUS

2. “Figure and ground cannot be seen simultaneously, but can be seen sequentially.” (Concentrate and see if you can see a white square with a black hole)

3. “Figure usually occupies an area smaller than ground.”

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4. “Figure is seen as having contour; ground is not.”

C H AShape PTER 2

Figure and Ground can be referred to as Positive and Negative space. Positive space is the figure. Negative space is the ground.

Different visual effects can be generated solely by the placement of the figure within the ground. In this example, the red shape is identical in all of the images, yet each has distinct visual effects caused by the location of the red shape, or figure, organizing the empty white area, or ground, into various shape combinations. This white area is called the negative shape.

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C H AShape PTER 2

Positive and Negative Shape

Often the positive shape will be the focal point of an image, but the negative areas or shapes are equally important in the final visual effect. Here, while the figure is the subject, the placement of the figure on the ground creates negative shapes that enhance the gesture and movement in the image.

Kitagawa Utamaro (1753? - 1806), woodblock prints

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C H AShape PTER 2

Positive and Negative Shape in Logos

The concept of figure/ground is used extensively in the design of graphic symbols. Notice how the negative shapes, or grounds, are essential to a clear interpretation of the images.

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C H AShape PTER 2

Positive and Negative Shape in Symbols

The designer can create harmonious visual relations in black and white using Figure/Ground ambiguity. To do so the negative space must be sufficiently enclosed so that it has a potential shape, and neither the figure nor ground should be dominant. The symbol for Taoism, representing Yin/Yang, is perfectly symmetrical, being seen as half figure and half ground. The curved line bisecting the image is a common contour to both, simultaneously separating and uniting the two sides. No one side dominates.

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C H AShape PTER 2

Figure and Ground Ambiguity

An excellent contemporary example of Figure/Ground ambiguity is the work of the Dutch artist M. C. Escher. In this example, the image has contour lines common to both the figure and the ground.

On the next few pages, we will show contemporary examples of designers using positive and negative shape relationships in Logo or symbol design.

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C H AShape PTER 2 Positive and Negative Shape in Logos and Symbols

“Moby Dick Book Cover,” Alexander Johnson

“Titanic,” Ben Farrow

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“Batman vs. Penguin,” Simon Page

C H AShape PTER 2 Positive/Negative shape animals created by designer George Bokhua

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L UShape CTUS Gestalt Theory: the whole is different from the sum of it’s parts

Gestalt psychology provides us with theories of how the viewer groups and organizes visual parts so that they are perceived as a whole. In other words, what you see when you look at an image as a whole is different from what you see looking at each item making up the image separately. We have covered these concepts briefly in the Unity unit, but will now relate them to shape and symbol development.

The Star of David is seen not as 6 triangles around a hexagon, but as one solid unit. What Gestalt concept makes this happen?

View this website for more on Gestalt theories: http://www.creativebloq.com/graphic-design/ gestalt-theory-10134960

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L UShape CTUS

Positive Shapes and Symbols Combining the elements of gestalt with positive and negative shape relationships can lead to symbolic representations.

Symbols are defined as invented shapes communicating ideas or meaning beyond their literal form. Meanings are assigned and agreed upon by community, association, resemblance, or convention.

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C H AShape PTER 2

Letters as Symbols

Visual communication is symbolic. Letters are symbols that represent sounds; the lines we use to draw representational images are symbols for perception. Each word is part of a larger symbolic system, a language.

In our own language we usually recognize whole words at a time, without having to analyze them as symbols. Foreign languages, often made up of symbols/letters we don’t recognize, remind us that all letters are just symbols.

In Russian Cyrillic language and letters, as seen in variations on the right, the symbols become meaningless unless we are able to read in Russian.

HELLO 14

C H AShape PTER 2

Origins of Symbols: Abstract The symbols we use today for writing alphabets evolved from simple cave drawings, which are the first known form of visual communication. Discoveries of such drawings and symbols have helped us to understand how symbols and styles of visual communication have evolved from ancient times.

In all cave art abstract motifs are found alongside human and animal figures, and are given equal prominence. Abstraction arose from the need to represent, in a sign, an idea with a meaning unknown to outsiders, and it was achieved either simply or symbolically.

Paleolithic people practiced abstraction in the form of repetitive symbols, which represented primitive logical constants that were widely shared.. These included figures of animals, handprints, series of dots and notches.

Other representations take various forms: pictograms, figures or barely indicated figures of humans and animals, ideograms, abstract repetitive signs - such as arrows, sticks, tree shapes, discs, crosses and "V" shapes, parallel lines, and series of dots.

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CH LU AShape C PT U ER S 2

Origins of Symbols In the example left, Egyptian hieroglyphic symbols reveal a language of symbols representing elements of life in ancient Egypt. After they learned to use pictograms, ancient peoples developed ways to convey more complicate, abstract thoughts. They gave new meaning to single pictograms and to combination pictograms. Here are the Chinese characters for “sun” and “moon’.

Combined, they mean “bright.

Any object may be called a symbol as long as a group of people agree that it means more than just itself. For example, a red heart may be a symbol for love; a red cross may be a symbol for aid and comfort.

For more in-depth information regarding signs and symbols and how they are interpreted look up Semiotics: the study of signs and symbols and how they are used.

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CH LU AShape C PT U ER S 2

Origins of Symbols In 1974 the U.S. Department of Transportation commissioned the American Institute of Graphic Arts to develop a set of symbols that could communicate essential information across language barriers to international travelers. These symbols are referred to as Universal Symbols.

Today, these symbols are used world wide to direct travelers to rest rooms, heliports, escalators, etc. These symbols were created using simple positive/negative shape relationships for an image clean in presentation and clear in communication. In these examples, the black shapes are considered the positive shapes, and the white areas are considered the negative shapes.

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CH LU AShape C PT U ER S 2

Symbols in Advertising, Symbols as Trademarks Companies have used symbolic images called “Trademarks” to identify themselves since the early Renaissance (circa 1400 a.d). This practice grew and flourished with the industrial revolution and matured in the 1950’s with complete corporate visual identification systems, referred to in the design/advertising industry as Corporate Identity. A trademark is any unique name or

IBM Logo, Paul Rand Designer

symbol used to identify a product and distinguish it from others. It can be registered and protected by law. It’s primary function is to increase brand recognition and advertise products and services.

Two designers strongly associated with this golden age of corporate identity are Paul Rand and Milton Glaser.

Common to both of their design sensibilities is a sense of visual economy, reducing imagery down to it’s simplest means to convey the message. Many of the symbols/ logos developed rely on simplicity, positive/negative shape relationships, and associative color to represent large corporate entities.

Brooklyn Brewery logo, Milton Glaser Designer

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CH LU AShape C PT U ER S 2

Symbols in Advertising, Symbols as Trademarks The McDonalds trademark utilizes an enlarged M, often referred to as the Golden Arches, and simple text to create its visual identity. Red and yellow are used to create a sense of warmth and energy. The yellow M can also be read as French fries dripping over the edge of a container. Multiple associations are common in well-designed trademarks.

Nike created the “swoosh” symbol to represent their company. It is used alone, or with the text “Nike” in association with it. They chose to use the mythological reference to Nike, the ancient Greek personification of victory, to create associations with speed, success, and victory.

Notice how Nike’s logo resembles the wing on the sculpture “Nike of Samothrace.”

Nike, Coca-Cola, and other corporations and institutions have a master corporate identity plan that coordinates all of their designs. This plan begins with a trademark or logo, applies it to business cards, letterheads, advertisements, product information, and packaging, and continues with a television, radio, and web presence. Through this all the symbolic representations are reinforced, creating strong associations in the viewer’s mind with the corporation represented.

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CH LU AShape C PT U ER S 2

Symbols in Advertising, Symbols as Trademarks View the Federal Express logo to the top left. Notice the arrow, denoting movement, a good element for a shipping company, somewhat hidden as negative space in the type. Notice the economy of means, symbolic representations, and balanced compositions. These are complex design issues, yet in the end they are simple personifications of a greater idea through the use of representative symbols that we the viewer can easily associate with. An axiom that illustrates itself here is that the simpler the imagery, the more correct every element must be for successful communication. One line or shape off and the illusion is destroyed.

The icons you use on your computer and mobile devices are visual symbols, representing software, tools, and other functions. You probably use them every day without thinking of the design elements or the associations of a small visual to the larger content of a software package or tool function.

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Shape

Types of Shapes: Naturalism Shapes come in many guises. There is naturalism, where the designer/artist creates imagery that successfully imitates the illusion of a three dimensional space and contour as we, the viewer, see it. The painting by John Singer Sargent, far right, has proportions and a sense of depth that matches our visual reality. The graphic of the apple, done in a Sumi ink style, right, retains the contours and colors of “reality�, providing enough cues to let us read this as real.

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Shape

Types of Shapes: Distortion

Opposing NATURALISM is DISTORTION, where the artist intentionally alters the forms of nature for their own purposes.

Caricature is a classic example of taking prominent physical features and exaggerating them for humor or for graphic effect. Here are examples from illustrators Al Hirschfeld and Philip Burke.

“Whoopie,” Al Hirschfeld, ink on paper

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“Hillary Clinton,” Philip Burke, Oil on Board

Shape

Types of Shapes: Abstraction

An offshoot of DISTORTION is ABSTRACTION. With Abstraction the natural shapes are reduced to their most basic character. These illustrations by Noma Bar take hair and facial forms and interprets them as basic geometric shapes. Notice the use of negative space in the images. The nuclear logo and a Vulcan hand sign are used as facial features. We still read them as faces, but they are largely simple hard-edges shapes.

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Shape

Types of Shapes: Non-Objective

NON-OBJECTIVE shapes are shapes that refer to nothing but themselves. They have no subject matter other than pure form. It is pure visual design. This painting by Helen Frankenthaler is a good example of a non-objective shape composition.

Helen Frankenthaler, Western Dreams, 1957, oil on canvas, 70 x 86 inches

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Shape

Types of Shapes: Rectilinear and Curvilinear RECTILINEAR describes shapes or compositions that have hard edges, right angles, and rectangular forms.

CURVILINEAR forms are more flowing, using predominantly rounded shapes or lines to create the image. While the character of rectilinear images are often hard, curvilinear images are generally referred to as soft.

The poster by the designer Theo van Doesburg, far left, is Rectilinear; the photo by Edward Weston, immediate left, is EW/CW SHELLS, Edward Weston, Photograph

Theo van Doesburg, Poster Design for the 'Little Review', 1925.

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curvilinear.

Shape

Terms and Definitions Abstraction - Natural shapes that are reduced to their most basic character.

Curvilinear - Shapes based on the sinuous organic shapes found in nature.

Distortion - An intentional alteration of the forms of nature, often manipulating conventional proportions.

Figure - A positive shape, often a recognizable form.

Ground - The unoccupied space in a composition, often termed as negative space.

Naturalism - Imagery that successfully imitates the illusion of a three dimensional space and contour as we, the viewer, see it in nature.

Negative Shape - The empty area left after positive elements have been created by the designer.

Nonobjective - Shapes that refer to nothing but themselves. They have no subject matter other than pure form.

Positive Shape - A figure or field against a ground; the implied solid mass in the composition.

Rectilinear - Shapes or compositions that have hard edges, right angles, and rectangular forms.

Shape - A two dimensional area distinct from background and other shapes, bounded by outline, value change, textural differences or color to create a visually

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Assignment: Shape Helpful Tip: Please refer to your software instructions or use the Adobe help website.

Try to google photoshop questions or refer to online YouTube tutorials.

Build on your knowledge from the last assignment in layers and scale/move/ rotate tools.

Objectives: • Use SHAPE to create positive/negative space in a composition • Use SHAPE to create figure/ground relationships in a composition • To continue to refine software skills & the previous elements learned

ASSIGNMENT PART 1: Using the element of SHAPE, you will create images visually communicating positive and negative shapes using sea life animals. You may use any or all of the following: WHALE, SHARK, JELLYFISH, SEA HORSE, OCTOPUS, MANTA RAY. Manipulated clip art images of these sea life animals are perfectly acceptable - you may also wish to draw your own.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation:

Open the template in the lesson folder using your software. Focus on shape and contour of the sea life while retaining a sense of figure/ground ambiguity or interplay. Keep your imagery SIMPLE. Use the edges of the picture plane whenever possible to help define your shapes. Use repetition of form and repeating shape - play with positive and negative spaces. Recall that negative spaces are as important to the balance of the image as the positive space.

1. Which sea life animals were easy to work with? Which ones harder?

2. Tell me about your figure/ground space relationships? Why are they successful? If they aren’t... Why not?

3. What do you like about your finished art?

4. What can you do better next time?

• Use black on white - or - white on black ONLY. No gray.

• Use repeating images for rhythm and movement • Use overlapping for interplay of shapes • Use EMPHASIS in your design by contrasting size or isolation of shape/s • The images may be recognizable(naturalism), or abstract (nonobjective)

This assignment is worth 10 points.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Enjoy!

Feel free to be as creative as you wish; use other tools or options as you are comfortable within the limitations of the assignment. Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson5.jpeg and upload to the dropbox provided for Lesson 5, Shape.

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Design & Communication | ARTS102

Lesson Six Line Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: LINE THE PRINCIPLE OF LINE IN VISUAL COMMUNICATION - OVERVIEW

What is the design element of LINE? Lines are a graphic construct; they do not really exist in nature. They will portray either the outline of a shape or the edge of light and shadow as it exists in reality.

Beyond defining “reality”, lines can express emotion, movement, and gesture, function as borders or dividers, and work as decoration or embellishment of other imagery.

Line is essentially a mark on a surface that describes a shape or outline. It can create texture and can be thick and thin.

Types of line can include actual, implied, vertical, horizontal, diagonal and contour lines.

length. Line is an art element. There are numerous varieties of possible lines, including curved, bent, thick, wide, broken, vertical, horizontal, burred, or freehand.

Lines are frequently used to delineate shapes, forms and spaces. The representation of volume, edges, movement and patterns can all be created using line. Lines can create both 2D and 3D objects and figures.

Line can be formally defined as the path a point takes as it moves across a surface, a point set in motion. As we as visual communicators will deal with it, though, it will be considered in the dimension of width as well as length.

PHYSICAL LINE may vary in weight and character but remains continuous.

Line in drawing refers to a type of mark that contains both a direction and a “Polar Bear” by Isamu Noguchi, pencil, 1928

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Line

Implied Line IMPLIED LINE consists of disconnected elements that the viewer will connect by eye. See “Gestalt/Continuity”.

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LUC TUS Line

Psychic Line and Contour Line There is PSYCHIC LINE, where one object in an artwork points to and therefore directs the viewers eye from one point to another., as seen in the image left, above.

The most basic type of line that the designer uses to create a 3D illusion on a 2D surface is CONTOUR line. Contour lines accurately describe the shape of forms by precisely recording their edges, contours, and intersections. Prior to the advent of photography this was a tremendously valued skill as it was one of the few ways to document nature, people, places, or events. J. A. D. Ingres (1780 - 1867) personified this type of drawing as he would use his contour drawings as studies for paintings as well as individual portrait artworks themselves. Notice in the drawing shown lower left, the accuracy of edges, the variance of line from dark to light to show emphasis, and the detailed passages creating the illusion of dimensional realism.

A more contemporary approach to contour drawing can be found in the drawings of contemporary artist Ellsworth Kelly, lower right. Note his use of negative space to create balance of visual weight, as well as the subtle variances of line character (thin to thick, light to dark, etc.) that help project leaf forms forward from other parts of the drawings.

“Portrait of Madame d’Haussonville, J. A. D. Ingres, 9 3/16” x 7 3/4,” graphite, 1845

“Hyacinth’” Ellsworth Kelly, graphite, 1949

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C H A Line PTER 2 Line Found in Nature The illusion of line can be found in nature beyond mere outline. In this photo seen top right, the aspen trees become the notes and the dark spaces become intervals of silence or rests in musical terms.

The framing of the image by the photographer takes a natural event and turns it into a rhythmic vertical linear movement across the composition.

This photograph, below of zebras also promotes the illusion of line in nature. Here striped form is repeated to create a visual movement in and around the image. Notice that in looking at these images your eye never really comes to a rest, but continues to flow through the composition. This, by the way, confuses predators as well, making the designs not only beautiful but functional as camouflage as well.

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C H A Line PTER 2

Common Contour Contrast between adjacent areas in an image causes contours. The sharper the edge the higher the contrast, the higher the contrast the more the edge appears to “advance’ in space. When two shapes share the same or COMMON contour a competition for dominance between the two shapes occurs. The sharing of edges causes visual tension, as each form has it’s own shape that we visually try to separate from the whole.

Seen at lower right, M. C. Escher used the common edge as well as positive/negative space and shape relationships to create ambiguous illusions that can be read in multiple ways.

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C H A Line PTER 2

Gesture Line Another form of drawing is GESTURE drawing. With gesture drawing, the movement, weight, posture, and general character of the drawing at a single point in time is more important than the accurate description of shape or contour. Here, line moves freely through the form, creating dynamic tension and movement as well as implying volume in the ballet dancer.

“Ella Fitzgerald,” Al Hirschfeld, Lithograph, 21” x 27,” 1993

Directly related to gestural line is EXPRESSIVE line. Here the intent is to emphasize the kinetic potential and energy within a descriptive format. Constantly varying line characters such as weight, thinness, and character creates a dynamic flow within the image.

Expressive line can be exaggerated, along with the exaggeration of form, to create caricatures. The drawings of Al Hirschfeld exhibit fluid line along with gestural flourishes to show motion and emphasize features of prominent individuals.

“Untitled,”, Willem de Kooning, 18 3/4 x 24,” charcoal, 1968

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C H A Line PTER 2 Lost and Found Contour Lost and found line works with the Gestalt theory of Closure to fill areas where line has trailed off or is nonexistent. Here in the Egon Schiele drawing, immediate right, elements are left out, such as parts of arm, yet we interpret them as whole figures. This is done to alter the visual weight of the drawing for balance purposes.

The expressive line can be varied in layers to create a deep illusion of abstract space, as in this

“Cold Mountain 6,” Brice Marden, oil on canvas, 108” x 144,” 1991

Brice Marden painting, right.

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C H A Line PTER 2 Unvarying Line Julian Opie uses a constant, unvarying line to flatten the space in this images. The regular line functions in a way like the grid referred to in the Unity chapter...it provides a stable, unmoving “screen” across the picture plane that does not indicate space. When used with flat color or value the designer can flatten pictorial space for aesthetic reasons.

“Queen,” Julian Opie, Oil on Canvas

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C H A Line PTER 2 Line in Animation

This flat use of line is common in animation, as it is an easy and constant way to unify the imagery as well as making it easy to fill in with color. Animators do try to vary line weights; exterior lines are often heavier than interior. They do not often have constant variety for the sake of consistency within style sheets created for characters, as often one character may be drawn by several artists.

When successfully completed, the animation will cause the viewer to see the characters, and not individual linear elements.

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C H A Line PTER 2

Terms & Definitions

Common Contour A contour line in common with two different images.

Contour A line used to follow the edges of forms and in doing so describe their outlines.

Gesture Drawing Line that records the movement, weight, posture, and general character of the subject at a single point in time. Here, line moves freely through the form, creating dynamic tension and movement as well as implying volume.

Implied Line An imaginary line created by positioning a series of points or short lines so that our brain joins them, such as a dotted or dashed line.

Line Quality A characteristic of line determined by its weight, direction, uniformity, or other feature.

Lost and Found Edges A description of a form in which an object is revealed by distinct contours in some areas and soft or areas faded into the ground in others.

Psychic Line A mental connection between two elements.

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Assignment: LINE

Objectives: • Begin to visually communicate LINE in a composition • Create interesting design within severe limitation • To continue to develop Photoshop/software skills in art.

Helpful Tip: Please refer to your software instructions or use the Adobe help website.

Try to google photoshop questions or refer to online YouTube tutorials to get familiar with pen/line and brush styles available in Photoshop.

ASSIGNMENT PART 1: Using the principles and elements learned so far, you will create four images using only line: Arrange 5 straight, thin lines (exact same size and length) in a pleasing design. Next, arrange 5 straight thick lines (exact same size and length) in a pleasing design. Now repeat the procedure for the remaining squares with 5 THIN CURVILINEAR lines, and 5 THICK CURVILINEAR lines.

Two squares should be white design on black, and two squares should be black design on white. Consider things like direction, overlap and negative space.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation: 1. What is line?

2. What does the direction of your line suggest in your composition?

3. What do you like about your finished art?

4. What can you do better next time?

Open the template in the lesson folder using your software. Make your compositions using the line, pen and/or brush tool, to your liking. You will create one design for each square on the template (4 total).

This assignment is worth 10 points.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Enjoy!

• Use only black and white for this assignment. No color.

• Use only 5 lines for each design • The design should be non-objective • Balance the positive and negative space Feel free to be as creative as you wish; use other tools or options as you are comfortable within the limitations of the assignment. Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson6.jpeg and upload to the dropbox provided for Lesson 6, Line.

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Design & Communication | ARTS102

Lesson Seven Space Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: SPACE THE PRINCIPLE OF SPACE IN VISUAL COMMUNICATION - OVERVIEW Many design problems require a designer to create the illusion of 3 dimensions on a 2D picture plane. Visual cues need to be given to the viewer about the nature of what the space in a composition represents. This chapter will discuss some of the qualities of illusional space and how to control it. Also, when discussing space, the principle of Scale must be included.

Scale here refers to the relative size of objects to other objects in a composition, and is a major player in indicating depth. And, visual texture can play a role in the perception of space, and so we will look at that as well.

A designer need to control the illusion of space or depth in an image, and the space created for the image will effect the overall message of the image being delivered. We can simplify the types of spaces into three types of space: Flat, Shallow, and Deep.

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Space

A composition with flat space appears to have all shapes sitting directly on the picture plane, appearing to be side by side. It is space that has only two dimensions, height and width. It will tend to not be more for decorative or non-objective shapes, as most representations of objects will require the illusion of depth.

Flat Space

In the Peter Halley painting on the previous page, hard edges and solid surfaces combine to compress the illusion of space or depth, leading the viewer to interpret the shapes as being next to each other on a flat plane.

The impact of the Kim MacConnel painting at right rests in the arrangement of colored shapes on a loose grid; altering it by applying techniques that would give it the illusion of three dimensions would likely lessen the impact.

Kim MacConnel, “28 Dove�, Acrylic on Canvas

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L U Space CTUS

Shallow Space

Once shapes start to overlap one another, an illusion of space is created. If the stacking is minimal, or the focal elements occupy most of the picture plane and only a few techniques are used to give the illusion of space, a shallow space is created.

In this painting by Pablo Picasso, the figure of the guitarist overlaps the shapes in the background; the figure of the guitarist appears to have depth through overlapping and shadow but the background is flat and the same value and tone as the figure. The use of shallow space here forces the viewer to focus on the guitarist.

Pablo Picasso, “The Old Guitarist,� oil on canvas, 1903.

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C H ASpace PTER 2

Henri Matisse, “The Red Room,” Oil on canvas, 1908.

For more on Henri Matisse please visit: http://www.henri-matisse.net/

Henri Matisse uses large fields of color and no use of shadow to create a flatness in the painting below, but depth is indicated through the overlap of objects and the image of a window.

From henrimatisse.org/, “The Dessert: harmony in red (The red room), 1908, is considered by some art historians to be Matisse's masterpiece. Matisse was greatly influenced by the Post-Impressionists, Van Gogh, Gauguin, Paul Cezanne, and like Van Gogh was an ardent admirer of Japanese art and motifs. He developed his style using areas of flat, brilliant and often unnatural colour and invariably outlined his forms in a manner similar to Van Gogh. This fauvist painting, like impressionism led by artist Claude Monet, has no central focal point. The painting initially was ordered as 'Harmony in Blue,' but Matisse was dissatisfied with the result, so he painted it over with his preferred red.

Matisse turned to a motif common in the painting: a room decorated with vases, fruits and flowers. Yet, as he wrote in 1908, "the basis of my thinking has not changed, but the

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very thinking has evolved and my means of expression have followed on." The luxuriant raspberry red fabric with its energetic twists of blue pattern seems to sink down from the wall, taking over the surface of the table and uniting it in a single whole, swallowing up the three-dimensional space of the room and masterfully confirming the decorative potential of the canvas surface. Matisse first made such uncompromising use of this compositional device here, in The Red Room.

But in affirming the flatness of the red colour, the artist managed to create within it the impression of space, space within which the female figure bending over the vase could move and within which the sharp angled view of the chair seemed natural. The window, through which we see a green garden with flowering plants, allows the eye to move into the depths of the canvas. The red room is a brilliant celebration of pattern and decoration. The rhythms of the foliage pattern on the tablecloth and wallpaper are echoed in the background through the window, uniting the interior with the cooler exterior.”

C H ASpace PTER 2

Deep Space

Compositions with deep space have more complexity; not only will overlap and stacking order play a role, but additional techniques will be employed including placement, size, scale, shadows, perspective, color, value and transparency.

The space in these compositions may include a foreground, a middle ground, and a background, or some combination of the three.

In the painting to the right elements such as placement, size, scale, shadows, and perspective all work to create the illusion of deep space. The man and woman walking on the left are foreground; the man with the umbrella walking left to right is middle ground, and the buildings in the depth are background.

Gustave Caillebotte, “Paris Street in Rainy Weather,” 83.5” x 108.75”, oil on canvas, 1877

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C H ASpace PTER 2

Creating the Illusion of Space

Creating the illusion of Space There are a number of means of creating a three-dimensional illusion on a twodimensional picture plane by giving us cues that we respond to automatically. They are:

1.

Overlap

2.

Scale

3.

Placement

4.

Shadow and modeling

5.

Transparency and Translucency

6.

Aerial Perspective

7.

Linear Perspective

8.

Color

In the Ruscha print to the right, deep space is created by perspective, overlap, scale, and

Ed Ruscha, “Standard Station�, silkscreen print, 1966

shadow.

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C H ASpace PTER 2

Overlap When objects appear to be one on top of the other, making one shape appear closer to the viewer than the other, we call that overlap. The Pfaff collage below uses overlap of otherwise flat shapes to create depth in the image.

In the poster left, the overlapping beach towel forms over the water and sun shapes, indicated by color create a graphic and flat illusion yet in keeping with summer beach festival content it advertises.

Studio Mut, Trieste Estate Summer Festival poster, 2016

Judy Pfaff, “Scopa #1,” Mixed adhesive plastics on Mylar, 35” x 47”, 1988

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C H ASpace PTER 2

Scale Similar shapes or recognized forms will tend to read as moving forward or backward in space as their size relationship to the other shapes changes. Bottom left, in the David Park painting, the larger size of the boy on the left pushes him forward visually from the bicycle rider on the right.

In the painting “Christina’s World” by Andrew Wyeth, top left, the size of the girl in the foreground is much larger than

Andrew Wyeth, “Christina’s World,”, 2’8” x 4’, tempera on board, 1948

the size of the buildings in the background, implying naturally that the girl is much closer to us visually than the buildings, creating a sense of deep space.

David Park, “Kids on Bikes,” oil on canvas, 1951

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C H ASpace PTER 2 Placement

Shapes placed lower on the picture plane will tend to read as being closer than identical shapes placed higher on the plane.

The two blue shapes are identical. Does the lower one appear closer than the upper one?

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C H ASpace PTER 2 Placement & Hierarchical Proportion

Hierarchical proportion is a technique used in art, mostly in sculpture and painting, in which the artist uses unnatural proportion or scale to depict the relative importance of the figures in the artwork.

For example, in Egyptian times, people of higher status would sometimes be drawn or sculpted larger than those of lower status.

During the Dark Ages, people with more status had larger proportions than serfs.

Nebamun hunting birds in the marshes using cats, fragment of a scene from the tomb-chapel of Nebamun, Thebes, Egypt Late 18th Dynasty, around 1350 BC.

Otto III from the Gospels of Otto III, Reichenau Abbey in southern Germany, late 10th or early 11th century

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C H ASpace PTER 2 Shadow

A shape that casts a shadow implies form blocking light, thereby implying volume. Shadow on the shape implies the same.

In the painting below right, Rembrandt uses strong contrast of light and shadow to create the illusion of depth in the image.

Even though unrealistic and strongly contrasting colors are used in the image by Andy Warhol far right, a strong sense of depth is achieved because of the accurate and strong use of shadow on the Mao figure in the silkscreen.

Rembrandt van Rijn, “The Night Watch,” oil on canvas, 1642

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Andy Warhol, “Mao,” Silkscreen on paper, 1973

C H ASpace PTER 2 Transparency and Translucency

Ron Davis, “Green Beam”, 108” x 180” Acrylic on Canvas 1975

Transparency and translucency give the illusion that light is passing through an object, revealing the object(s) it overlaps. It relates directly to overlap discussed previously, though now elements from the object behind are revealed. Transparency reveals more detail than translucency, allowing us to see more of the detail of the object(s) it overlaps.

Ron Davis, “Green Beam”, 108” x 180” Acrylic on Canvas 1975

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C H ASpace PTER 2 Aerial Perspective

Claude Lorrain, “Seaport at Sunset,” oil on canvas, 1639.

Claude Lorrain, “Port Scene with the Departure of Ulysses,” oil on canvas, 59”x47”, 1646

Based on the principle of diminishing contrast, objects at a distance will have less contrast and definition than objects close up. This is a naturally occurring phenomenon, due to viewing through aerial haze created by things like dust, water vapor, pollutants, etc.. We are conditioned to read this as distance.

Claude Lorrain (1604-1682) was known for his use of aerial perspective to create the illusion of deep space in his paintings. Notice how the contrast in the image becomes less as the implied space recedes in the distance. Note also the color softens and the edges become less defined.

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L USpace CTUS Depth of Field A related element of sharpness in an image is the photographic effect of depth of field. A basic definition of depth of field is: the zone of acceptable sharpness within a photo that will appear in focus. In every picture there is a certain area of your image in front of, and behind the subject that will appear in focus.

This zone will vary from photo to photo. Some images may have very small zones of focus which is called shallow depth of field. Others

may have a very large zone of focus which is called deep depth of field. Depth of field is controlled by factors of lens, aperture and distance which we will not cover here.

image. This use of selective detail can create depth in ooophotographic images.

A focused element will attract our attention more than an unfocused one. Photographers use this to direct the viewer to what they deem important in the image. We have also become conditioned through years of exposure to see the soft focus as an indicator of depth. This concept was used by artists prior to the development of lens optics to direct attention in an image by using less detail, contrast, and muted tones to create less important areas, while detail and contrast was used to create a focal point. Different media and intent, same effects for the viewer.

The two remaining means of indicating space,Linear perspective and Color, are highly complex and developed in their entirety, Raphael Sanzio, “Phrygian Sybil,�, and an in-depth Ink on Paper, 1511-12 study of them would take a semester or more just to touch the surface of available content and theory. We will touch upon Linear Perspective here, but understand this is only the beginning for these systems.* Color will be examined in a following chapter.

The Raphael drawing right uses lack of definition in the left leg, right shoulder, and surrounding areas to direct our focus to the face ad the left arm moving forward in the

Sally Mann, Photograph

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C H ASpace PTER 2 Linear Perspective Based on the principle of diminishing size, objects will be seen as smaller as distance increases through the use of converging parallel lines. Diminishing size is a naturally occurring phenomenon, as we see things as smaller as they are further away, but it can also be mathematical, as we can systematically plot an accurate reduction or increase in size using lines and points. A description for linear perspective could be “a mathematical system for representing threedimensional objects and space on a two-dimensional surface by means of intersecting lines that are drawn vertically and horizontally and that radiate from one point (one-point perspective) two points (two-point perspective) or several points on a horizon line as perceived by a viewer imagined in an arbitrarily fixed position.�

Dictionary.com Unabridged.

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Linear perspective is thought to have been devised about 1415 by Italian Renaissance architect Filippo Brunelleschi and later documented by architect and writer Leon Battista Alberti in 1435. Prior to this time there was no known programmatic manner of indicating accurate space in a two dimensional image. To understand the very basic elements of perspective drawing please view: http://thevirtualinstructor.com/ onepointperspective.html One point perspective.

One point has only one dimension, we’ll call it depth, receding in space and therefore at an angle to the picture plane. Height and width remain parallel.

One vanishing point, a point where parallel lines converge on the horizon line described in the tutorial above, is used for the image. All lines receding in space will converge there.

C H ASpace PTER 2 Linear Perspective

“In the church of Santa Maria Novella in Florence is one of the best examples of the early Renaissance scientific approach to creating the convincing illusion of space within a painting.

Perhaps the most significant aspect of this fresco is the way Masaccio makes use of one-point linear perspective to convey the sense that the images recedes back in space. The coffers on the ceiling create the orthogonal lines, and the vanishing point is at base of cross, which happens to be at the eye level of the viewer. This creates the

sense that the space we are looking at in the fresco is actually a continuation of the chapel space in which the fresco is painted.”

Taken from ItalianRenaissance.org For more information please visit: http://www.italianrenaissance.org/ masaccios-holy-trinity/ Here in one point perspective only one dimension recedes in space. Height and width remain parallel to the picture plane, only depth moves at an angle into the plane.

Masaccio, “Holy Trinity”, fresco,1424, fresco

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C H ASpace PTER 2 Two-Point Perspective Two point has two dimensions receding in space and therefore at an angle to the picture plane.

Height will remain parallel. Two vanishing points, indicating convergence points for width and depth, will lie on the horizon line at opposite ends of the picture plane.

All lines receding in space will converge there. Architects use

perspective to accurately visualize their designs for structures.

The Frank Lloyd Wright drawings below are drawn in two point perspective. Here width and depth are at angles to the picture plane, while height remains a vertical and parallel to the picture plane

Frank Lloyd Wright, Detail of Thaxter Shaw House Living Area, 1906.

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C H ASpace PTER 2 Terms and Definitions:

Al Held, “Piazza�, Acrylic on canvas, 1982

Space The three-dimensional void that elements occupy; the empty area between elements.

Flat Space A space that has height and width only; usually represented by the picture plane itself.

Shallow Space The illusion of limited depth; the imagery is only a slight distance back from the picture plane.

Deep Space The illusion of great or unlimited depth; often a feature of landscapes.

Can have some combination of foreground, middle ground and background.

Overlap A depth cue, in which some shapes are in front of and partially hide or obscure others.

Shadow The darker value on the surface of an object that is away from the source of light or obscured by another object.

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Aerial Perspective The illusion of deep space in which distant objects appear to have less detail and contrast than objects in the foreground.

Linear Perspective Based on the principle of diminishing size, objects will be seen as smaller as distance increases through the convergence of receding parallel lines.

Transparency A visual quality in which an object or distant view can be seen clearly through a nearer object. Two forms overlap, but are seen in their entirety.

Translucency A visual quality in which objects, forms or planes transmit and diffuse light, but with a greater degree of opacity that does not allow clear visibility through the object.

Assignment: SPACE

Helpful Tip: Please refer to your software instructions or use the Adobe help website.

Build on your knowledge from previous assignments in copy/paste, layers, fade and filters, adjustment layers and move/rotate tools, along with any additional tools you fee comfortable with.

Objectives: • Begin to visually communicate SPACE in a composition • Begin to use the illusion of receding space in a design, & use of visual texture • To continue to develop Photoshop/software skills in art.

ASSIGNMENT PART 1: Using the principles learned so far, you will create a composition of a palm tree lined street, in one-point perspective. Emphasis will be on properly using a vanishing point on the horizon line, and the use of diminishing contrast from front to back, illustrating receding space. Please review E-book links and newsfeed posts before beginning to ensure you set up your one-point perspective properly with a horizon line and vanishing point.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation:

1. Explain1-point perspective versus 2-point in your own words 2. What methods did you use to illustrate visual receding of palm trees?

3. What do you like about your finished art?

4. What can you do better next time?

There is no template for this assignment. Please use a new document set at 8.5x11, horizontal or vertical as you choose. This image does not have to be complex. Sometimes simple form works very well here. However, you must accurately depict a one-point perspective drawing by using a horizon line and vanishing point, and show demising contrast for depth. Use googled art of palm trees or consider drawing your own.

This assignment is worth 10 points.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Enjoy!

• Use black white and gray ONLY for this composition.

• Recall as objects recede, they should get smaller with less detail • Use texture - contrast palms or other elements in front with back • Achieve Rhythm by linear repetition and repeated shape • Balance your image with good placement of visual weight.

Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson7.jpeg and upload to the dropbox provided for Lesson 7, Space.

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Design & Communication | ARTS102

Lesson Eight Value Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | ARTS102

Design & Communication: Value THE ELEMENT OF VALUE

IN VISUAL COMMUNICATION - OVERVIEW

What is the design element of Value? Value refers to the lightness or darkness of a color or tone relative to the colors or tones around it. It is basically light and dark. Tones that are closely related to each other in value, that is, not having a great difference between them, are considered to have low value contrast. If there is a strong difference between the two it is considered high value contrast.

Full Value Range A full value range is often used by the artist to convey excitement, power, or drama. View the drawings on this page and the next based on photographs by Robert Longo.

“Monsters,� Robert Longo, Charcoal on Paper, 2008

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Value

Brooklyn-based artist Robert Longo, seen here made these incredible drawings of massive thundering waves using just charcoal (on mounted paper). Called Monsters, the drawings almost look like black and white photos.

“Monsters,� Robert Longo, Charcoal on Paper, 2008

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L U Value CTUS

Chiaroscuro

Value can create pattern and be used to create volume and space. The word Chiaroscuro describes using strong value contrasts to create depth and also visual drama in a drawing. The drawing below by Michelangelo is a good example of this concept. Notice in this study of Madonna and Child that the full value range of the infant makes it stand out and have a strong sense of dimension compared to the linear drawing of the mother.

“Madonna and Child,� Michelangelo, Black and red Chalk on paper, 1522-25

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C H AValue PTER 2

Subtle differences in the treatment of light and of composition can render vastly different effects. In the Johannes Vermeer painting the soft, indirect northern light brings a gentler contrast to the figures, which, with the serene formal compositions creates an image of domestic calm and ease.

The painting by Caravaggio is aggressive, tense, and disconcerting, not only for their subject matter but for the high contrast, strong light, and diagonally based composition. This combination is active and strong, and the dynamic of the image is that of conflict or negative emotion. It also reflects the warm Mediterranean light Caravaggio worked in living in southern Italy.

“Deposition of Christ from the Cross,�

Caravaggio, Oil on Canvas, ca. 1600 Woman in Blue Reading a Letter, Johannes Vermeer, oil on canvas, ca. 1660.

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C H AValue PTER 2

Value and Line

Line can be an element along with value, enhancing the existing values and visual textures. This Rembrandt ink wash drawing below demonstrates how pure value and line can be used together to create not only strong contrast but expressive character as well. The gestural nature of the line is augmented by the simple placements of value in the image. The same can be said in reverse for the Diebenkorn ink wash drawing presented here as almost a “negative” image.

“Lion Resting,” Rembrandt van Rijn, ink on paper.

“Seated Woman,Umbrella” Richard Diebenkorn, ink on paper, 1967.

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C H AValue PTER 2

Value without Line

Compositions can be created without line at all, using variations of value as the only means of defining shapes and edges. The example of the Georges Seurat drawings shows the dark contrast in the foreground, and the other elements receding in space and definition through diminishing contrast in these pointillist technique drawings.

“Three Young Women,” Georges Seurat, conte on paper, 1885

“At the European Concert,” Georges Seurat, conte on paper, 1886

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Georges Seurat, conte on paper, 1886

C H AValue PTER 2

Value Range As we have seen the tonal ranges selected by the designers will create moods or ambiences in the imagery that are universally perceived. Dark images can create images of sadness or mystery, where light tonal ranges tend to favor happy or positive connotations. In the painting “Childhood Idyll” , seen left, William Bouguereau treats the subjects, clothing, and background with light values, adding to the gentleness of the image of children daydreaming.

The contemporary photogram by James Welling, right, is light and airy, using the shapes of flowers exposed directly on photo paper to create peaceful organic images.

“Childhood Idyll,” William Bouguereau, oil on canvas, 40” x 51,” 1900.

019, James Welling, C-print, 48 x 37,” 2008

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C H AValue PTER 2

Value and High Contrast Value can be reduced from a full gradation of dark to light to a more high contrast image for visual effect. In the poster for the movie “The Man With the Golden Arm� designer Saul Bass used solid blocks of dark values and high contrast figures looking into the center of the image to establish his focal point on the title of the film. It also directs attention to the wrenched arm that is used as a symbol for the heroin addiction portrayed in the film.

Poster for The Man with Golden Arm, Saul Bass, 1955.

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C H AValue PTER 2

Comparing and Contrasting HOW ARTISTS USE VALUE DIFFERENTLY

Frank Miller & Ansel Adams Here we can see how different artists in different media handle value contrast differently, with different purposes, and achieve impressive but entirely different results.

Frank Miller is a Graphic Novelist, known for series like Sin City, 300, and The Dark Knight.

He works with drawing media, primarily black and white only, with the occasional exception of a color for accent. The beautiful drawings, almost abstract in their simplicity, rely on the hard black/white contrast of value to define characters and relate the narrative.

First, view drawings from Frank Miller from his Sin City series left and next page.

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C H AValue PTER 2 Compare & Contrast: Frank Miller & Ansel Adams

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L U Value CTUS Compare & Contrast: Frank Miller & Ansel Adams Compare this simple high-contrast imagery with the Continuous tone imagery of photographer Ansel Adams, right. The master of a full dynamic range, Adams created a system of exposure where the brightness range of the image to be photographed is repeated on film or in the digital camera. This is called the zone system. The objective of using the Zone system is to match output to the tonalities the designer foresaw, or “visualized.� The dramatic range of space and detail is evident in these Adams images.

Notice that almost every tone from black to white and all grays in between are represented in the image, giving a great deal of realism and depth to the photographs.

Their extreme naturalism is a strong contrast to the harsh abstraction of the Miller drawings. Both artists work with value and exploit different characteristics of the design element to further their own artistic vision.

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C H AValue PTER 2 Compare & Contrast: Frank Miller & Ansel Adams

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A S S I G N M E N T : VA L U E Helpful Tips: Please refer to your software instructions or use the Adobe help website.

Build on your knowledge from previous assignments in copy/paste, layers, and move/rotate tools, along with any additional tools you fee comfortable with. Please be sure to view videos provided for you in the folder.

Objectives: • Begin to visually communicate range of VALUE in a composition • Use research to communicate an artists style • To continue to develop Photoshop/software skills in art.

ASSIGNMENT PART 1: For this assignment, you will be asked to first, create a value scale with a total of 8 values. Second, you will create an abstract cubist design based on research of Stuart Davis.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation:

Please open the template provided, and view the accompanying video. Please fill your provided value scale with 8 tones of value (your choice of color or black/ white). Next, create an abstract cubist design in the style of Stuart Davis. Google his history and collection of works - see also the sample provided in the newsfeed. Create your design with a variety of geometric and organic shapes.

Vary the size and placement. Shade in all your shapes with the different values you developed on your scale.

1. Tell me more about Stuart Davis, what did you find in your research?

2. How did you use Balance? How did you use Shape?

3. What do you like about your finished art?

4. What can you do better next time?

This assignment is worth 10 points.

• You may choose a single color , such as red, green or black for your value scale • Use only the values you have developed on your value scale for your design.

• Overlap shapes on your cubism design for added interest • Use your full range of value developed on the scale.

• Balance your image with good placement of visual weight.

Here is the rubric for the assignment: • following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%)

Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson8.jpeg and upload to the dropbox provided for Lesson 8, Value.

Please let me know if you have any questions. Enjoy!

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Design & Communication | ARTS102

Lesson Nine Color Understanding visual art, design, communication and it’s functions through traditional and contemporary delivery.

Design & Communication | Color

Design & Communication: Color THE ELEMENT OF COLOR

IN VISUAL COMMUNICATION - BASIC THEORY AND COLOR SCHEMES

Color is the element of art that refers to reflected light. This page, while thorough, will present color theory in an "easy to understand" fashion. It is an exciting, ever-changing science. Color has an affect over how we feel about objects, how we behave, and how our bodies react to circumstances.

What is color theory? If color theory is simplified, it can be broken down into 3 parts- The color wheel, color value, and color schemes. Each part of color theory builds on the previous. Understanding each section of color theory fully, will help you better understand its importance in the creation of art.

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Color

The Color Wheel - Subtractive Color

Subtractive color is the color of pigments. It is called subtractive because in theory if all the colors are added together you will get black, or an absence of light.

The color wheel was developed by Sir Isaac Newton by taking the color spectrum and bending it into a circle. If you follow around the color wheel, you will find the same order of the color spectrumred, orange, yellow, green, blue, indigo(blue-violet), and violet. Some remember it by the acronym ROY G. BIV.

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L U Color CTUS

The color wheel is made up of three different types of colors Primary, Secondary, and Tertiary.

The primary colors are red, yellow, and blue. They are called primary for a couple of reasons. First, no two colors can be mixed to create a primary color. In other words, primary colors can only be created through the use of natural pigments. Secondly, all other colors found on the color wheel can be created by mixing primary colors together.

The secondary colors are orange, green, and purple. Secondary colors are created by mixing equal parts of any two primary colors.

Yellow and blue will give you green. Red and blue will create purple(violet). Red and yellow will give you orange.

Tertiary colors are created by mixing equal parts of a secondary color and a primary color together. There are six tertiary colorsred-purple, red-orange, blue-green, yellow-green, blue-purple, and yellow-orange. Notice that the proper way to refer to tertiary colors is by listing the primary color first and the secondary color, second.

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C H AColor PTER 2

The Color Wheel - Additive Color ADDITIVE color is the color of light. It is called additive because in theory if all the colors are added together you will get white, or pure light.

The primary colors of light are red, green, and blue. They cannot be made by mixing other colors.

The secondary colors of light are yellow, magenta, and cyan. Red and blue make magenta, red and green make yellow, and blue and yellow make cyan.

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C H AColor PTER 2

Color Value

Color Saturation/Intensity

The second part of color theory deals with color values. Value is the

Saturation or intensity (the terms are interchangeable) refers to the relative

darkness or lightness of a color. When dealing with pure color (hue), value

strength of the color. Full saturation will be pure color, low saturation will be

can be affected by adding white or black to a color. Adding white to a color

grayed significantly.

produces a tint. Adding black to a color produces a shade.

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C H AColor PTER 2

Color Schemes Jimi Hendrix cover of Rolling Stone, 1992

Color schemes are ways colors are put together in an intelligent way to help create a unified composition.

They are used as guidelines in making color choices, and while the designer need not adhere 100% to the scheme chosen the more defined the scheme the more unified the color.

Monochromatic - literally means one (mono) color (chroma). So a monochromatic color scheme is made up of one color and it’s shades and tints. In the Jimi Hendrix cover of Rolling Stone, 1992, right, a unified image is formed by the all blue tints of the photo of Hendrix for the cover of the magazine. Pablo Picasso’s painting Guernica (right bottom) is expressing his horror at the terror bombing of the ancient Spanish city of Guernica during the Spanish Civil War. Picasso employed a monochromatic scheme to organize the varieties of imagery and add to the power of the tragedy.

“Guernica,” Pablo Picasso, 11’ x 25.6,’ oil on canvas, 1937

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C H AColor PTER 2

Color Schemes

Analogous colors - are colors that are next to each other on the color wheel. When used as a color scheme, analogous colors can be dramatic. For example, Blue, blue-green, green, and yellow-green, as shown below left OR, like the example top left: red, red-purple, purple, blue-purple.

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Color

Color Schemes

Analogous - “Water Lillies and the Japanese Bridge,” Claude Monet, oil on canvas, 36’ x 29,” 1897-9 shown right, the analogous shades of blue, green, and yellow dominate the Monet painting.

C OColor LOR Color Schemes Complementary colors - are colors found directly across from each other on the color wheel.

Complementary color scheme provide strong contrast.

Ex. Blue and orange, red and green, yellow-green and redpurple.

The photo by Sandy Skoglund, top right, creates a surreal impression by the use of the oversize goldfish and the blue and orange complementary contrast.

The Van Gogh, below right, uses a yellow orange/blue violet combination of complements to activate the scene.

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C H AColor PTER 2 Color Schemes Triadic colors - consist of three colors found on the color wheel that are equally spaced apart from each other. Ex. Red, blue and yellow or orange, green and purple.

The Burger King logo uses a red/yellow/blue combination inside of the orange field.

“When will You Marry,” Paul Gauguin, right, oil on canvas, 2’6” x 3’4” 1892

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C H AColor PTER 2 Color Schemes Split Complementary - color schemes are made up of a color and it’s complements closest analogous colors. Ex Blue, yellow-orange and redorange. Red-orange, red-purple, green. “Girl with Braids,” below, Amadeo Modigliani, 60 x 45.5 cm, oil on canvas . This painting uses variations on the example cited.

Meals, Paintings, Emily Gering, 2013

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C H AColor PTER 2

Visual Color: Warm and Cool

Warm Colors - Tones of red, orange and yellow are often associated with “warm” things for example, the sun, heat, light and fire. Red can also visually represent urgency, or loud sounds. To be noted, restaurants often use warm tones for their logos, as they are visually more representative of healthy, delicious food. Warm tones are often visually more exciting and will stand out against their cooler counterparts.

Cool Colors - Tones of violet, blue and green are therefore associated with cooler tangible items. For example, water, sky and grass. It has been said that cooler tones painted in a bedroom will help induce better rest.

Cool tones are often associated with a feeling of calm or rest and recede when placed against warmer tones.

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C H AColor PTER 2 Color Theory Terms and Definitions • Color - Element of art derived from reflected light. We see color because light waves are reflected from objects to your eyes.

• Color wheel - color spectrum bent into a circle.

• Primary colors - The most basic colors on the color wheel, red, yellow and blue.

These colors cannot be made by mixing • Secondary colors - colors that are made by mixing two primary colors together.

Orange, green and violet (purple) • Tertiary colors - colors that are made by mixing a primary color with a secondary color • Hue - the name of the color • Intensity - the brightness or dullness of a color. DO NOT CONFUSE INTENSITY WITH VALUE. • Color value - the darkness or lightness of a color. Ex pink is a tint of red • Tints - are created by adding white to a color • Shades - are created by adding black to a color • Optical color - color that people actually perceive- also called local color.

• Arbitrary color - colors chosen by the artist to express feelings or mood.

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A S S I G N M E N T: C O L O R Helpful Tips: Please refer to your software instructions or use the Adobe help website. Build on your knowledge from previous assignments in Pen tools and brush tools, along with any additional tools you fee comfortable with. Please be sure to view videos provided for you in the folder.

Objectives: • Begin to visually communicate color theory in a composition • Use and understand color schemes in a work of art • To learn more about Pop Art portraiture.

ASSIGNMENT PART 1: For this assignment, you will be asked to create a portrait using a color scheme of your choice. Select of photo of yourself, a child, spouse, family member or significant other for use in this exercise (please make sure you have their permission to do so). The photo should have high contrast in value - meaning light and dark tones and the photo should be balanced.

ASSIGNMENT PART 2: Please respond thoughtfully to the following questions regarding your artwork.

Please write your answers in the “add comments” section of the drop box when uploading your image. Engage me as your instructor and audience by responding to the questions below as a self evaluation:

Please open your photo in Photoshop. Turn the image to grayscale by selecting mode>grayscale, and discard color information. Create a new palette, by selecting a color scheme for the image - monochromatic, analogous, triadic or complementary. “Paint” your image using the color scheme of your choice. Use lighter color where values are light and darker color where your values are dark. See provided Photoshop video demo for tips on developing pop art style portraits. See newsfeed for more examples.

1. What color scheme did you choose and why?

2. How does your color scheme reflect a personal connection to the piece?

3. What do you like about your finished art?

4. What can you do better next time?

This assignment is worth 10 points.

Here is the rubric for the assignment:

• Use your grayscale image values to determine color hues.

• Balance the image by using crop or resizing functions • Use brushes, pens or filled shapes as needed.

• Fill light areas first, then darks

• following directions (20%) • submitting proper file format (20%) (LOW RESOLUTION JPEG) • inclusion of self evaluation (20%) • understanding of lesson concepts (20%) • creativity; clear, effective use of visual communication (20%) Please let me know if you have any questions. Enjoy!

Save the file as LOW RESOLUTION JPEG. Name your file as: lastname_lesson9.jpeg and upload to the dropbox provided for Lesson 9, Color.

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