Design Basics, Eighth Edition (with Art CourseMate with eBook Printed Access Card)

Cover Page......Page 1
Untitled......Page 18
access code*......Page 3
Untitled......Page 5
Copyright Page......Page 6
ABOUT THE COVER ART......Page 7
Dedication Page......Page 8
CONTENTS......Page 9
For Instructors......Page 15
Part 1: DESIGN PRINCIPLES......Page 17
CHAPTER 1: DESIGN PROCESS......Page 19
INTRODUCTION: Design Defined......Page 20
PROCEDURES: Steps in the Process......Page 22
THINKING: Getting Started......Page 24
Form and Content......Page 26
Form and Function......Page 28
LOOKING Sources: Nature......Page 30
Sources: Artifacts......Page 32
Sources: History and Culture......Page 34
DOING: Thinking with Materials......Page 36
Doing and Redoing......Page 38
CRITIQUE: Constructive Criticism......Page 40
CHAPTER 2: UNITY......Page 43
INTRODUCTION: Harmony......Page 44
Visual Unity......Page 46
GESTALT: Visual Perception......Page 48
WAYS TO ACHIEVE UNITY: Proximity......Page 50
Repetition......Page 52
Continuation......Page 54
Continuity and the Grid......Page 56
UNITY WITH VARIETY: The Grid......Page 58
Varied Repetition......Page 60
Emphasis on Unity......Page 62
Emphasis on Variety......Page 64
Chaos and Control......Page 66
UNITY AT WORK: Figurative and Abstract......Page 68
CHAPTER 3: EMPHASIS AND FOCAL POINT......Page 71
INTRODUCTION: Attracting Attention......Page 72
WAYS TO ACHIEVE EMPHASIS: Emphasis by Contrast......Page 74
Emphasis by Isolation......Page 76
Emphasis by Placement......Page 78
DEGREE OF EMPHASIS: One Element......Page 80
ABSENCE OF FOCAL POINT: Emphasizing the Whole over the Parts......Page 82
CHAPTER 4: SCALE AND PROPORTION......Page 85
INTRODUCTION: Scale and Proportion......Page 86
SCALE OF ART: Human Scale Reference......Page 88
SCALE WITHIN ART: Internal References......Page 90
Internal Proportions......Page 92
Contrast of Scale......Page 94
MANIPULATING SCALE AND PROPORTION: Surrealism and Fantasy......Page 96
PROPORTION Geometry and Notions of the Ideal......Page 98
Root Rectangles......Page 100
CHAPTER 5: BALANCE......Page 103
INTRODUCTION......Page 104
IMBALANCE: Horizontal and Vertical Placement......Page 106
SYMMETRICAL BALANCE:
 Bilateral Symmetry......Page 108
Examples from Various Art Forms......Page 110
ASYMMETRICAL BALANCE: Introduction......Page 112
Balance by Value and Color......Page 114
Balance by Texture and Pattern......Page 116
Balance by Position and Eye Direction......Page 118
Analysis Summary......Page 120
RADIAL BALANCE: Examples in Nature and Art......Page 122
CRYSTALLOGRAPHIC BALANCE: Allover Pattern......Page 124
CHAPTER 6: RHYTHM......Page 127
INTRODUCTION: Engaging the Senses......Page 128
Visual Rhythm......Page 130
RHYTHM AND MOTION: Shapes and Repetition......Page 132
ALTERNATING RHYTHM: Patterns and Sequence......Page 134
PROGRESSIVE RHYTHM: Converging Patterns......Page 136
POLYRHYTHMIC STRUCTURES: A Study in Contrast......Page 138
Part 2: DESIGN ELEMENTS......Page 141
CHAPTER 7: LINE......Page 143
INTRODUCTION: A Point Set in Motion......Page 144
LINE AND SHAPE: Defining Shape and Form......Page 146
TYPES OF LINE: Actual, Implied, and Psychic Lines......Page 148
LINE DIRECTION: Horizontal, Vertical, and Diagonal Lines......Page 150
CONTOUR AND GESTURE: Precision or Spontaneity......Page 152
LINE QUALITY Creating Variety and Emphasis......Page 154
LINE AS VALUE: Using Lines to Create Dark and Light......Page 156
LINE IN PAINTING: Outline of Forms......Page 158
Explicit Line......Page 160
LOST-AND-FOUND CONTOUR: Suggestions of Form......Page 162
INHERENT LINE: Structure of the Rectangle......Page 164
CHAPTER 8: SHAPE......Page 167
INTRODUCTION: Shaping Perception......Page 168
PREDOMINANCE OF SHAPE......Page 170
VOLUME/MASS: Working in Two and Three Dimensions......Page 172
NATURALISM AND DISTORTION: Exaggerated Shapes......Page 174
NATURALISM AND IDEALISM: Nature and Aspiring to Perfection......Page 176
ABSTRACTION: Essence of Shape......Page 178
NONOBJECTIVE SHAPES: Pure Forms......Page 180
CURVILINEAR SHAPES......Page 182
RECTILINEAR SHAPES AND COMBINATIONS......Page 184
POSITIVE/NEGATIVE SHAPES: Introduction......Page 186
Isolation or Integration......Page 188
Emphasis on Integration......Page 190
Ambiguity......Page 192
CHAPTER 9: PATTERN AND TEXTURE......Page 195
PATTERN: Creating Visual Interest......Page 196
Order and Variety......Page 198
TEXTURE AND PATTERN: Similarities and Differences......Page 200
TEXTURE: Creating Visual Interest......Page 202
TACTILE TEXTURE: Actual and Implied......Page 204
Collage......Page 206
VISUAL TEXTURE: Verisimilitude and Trompe L’oeil......Page 208
CHAPTER 10: ILLUSION OF SPACE......Page 211
INTRODUCTION: Translating Space to Two Dimensions......Page 212
DEVICES TO SHOW DEPTH: Size......Page 214
Overlapping......Page 216
Vertical Location......Page 218
Aerial Perspective......Page 220
Plan, Elevation, Perspective......Page 222
Linear Perspective......Page 224
One-Point Perspective......Page 226
Two-Point Perspective......Page 228
Multipoint Perspective......Page 230
AMPLIFIED PERSPECTIVE: A Different Point of View......Page 232
MULTIPLE PERSPECTIVE: A Pictorial Device......Page 234
ISOMETRIC PROJECTION: A Spatial Illusion......Page 236
OPEN FORM/CLOSED FORM: The Concept of Enclosure......Page 238
TRANSPARENCY: Equivocal Space......Page 240
CONCLUSION: Complexity and Subtlety......Page 242
CHAPTER 11: ILLUSION OF MOTION......Page 245
INTRODUCTION: Stillness and Arrested Action......Page 246
ANTICIPATED MOTION: Seeing and Feeling Impending Action......Page 248
WAYS TO SUGGEST MOTION: Figure Repeated, Figure Cropped......Page 250
Blurred Outlines and Fast Shapes......Page 252
Multiple Image......Page 254
OPTICAL MOVEMENT: After image and Eye Movement......Page 256
CHAPTER 12: VALUE......Page 259
INTRODUCTION: Light and Dark......Page 260
VALUE PATTERN: Variations in Light and Dark......Page 262
VALUE AS EMPHASIS: Creating a Focal Point......Page 264
VALUE AND SPACE: Using Value to Suggest Space......Page 266
TECHNIQUES: An Overview......Page 268
CHAPTER 13: COLOR......Page 271
INTRODUCTION: Color Theory......Page 272
COLOR CHARACTERISTICS: Color Perception......Page 274
PROPERTIES OF COLOR: Hue and the Three Dimensions of Color Perception......Page 276
Value......Page 278
Intensity/Complementary Colors......Page 280
PALETTES: Mixing Light and Mixing Pigments......Page 282
VISUAL COLOR MIXING: Techniques That Suggest Light......Page 284
COOL/WARM COLORS: Identifying Color with the Senses......Page 286
COLOR AS EMPHASIS: Color Dominance......Page 288
COLOR AND BALANCE: Achieving Balance within Asymmetrical Composition......Page 290
COLOR AND SPACE: Color’s Spatial Properties......Page 292
COLOR SCHEMES: Monochromatic/Analogous......Page 294
Complementary/Triadic......Page 296
COLOR DISCORD AND VIBRATING COLORS: Unexpected Combinations......Page 298
COLOR USES: Local, Optical,  Arbitrary......Page 300
EMOTIONAL COLOR: Color Evokes a Response......Page 302
COLOR SYMBOLISM: Conceptual Qualities of Color......Page 304
GLOSSARY......Page 306
BIBLIOGRAPHY......Page 310
PHOTOGRAPHIC SOURCES......Page 312
B......Page 314
C......Page 315
E......Page 316
G......Page 317
L......Page 318
M......Page 319
P......Page 320
S......Page 321
V......Page 323
Z......Page 324