Solution Manual for Living with Art 11th Edition
Mark Getlein 007337931X 9780073379319
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Chapter Five: Principles of Design
Chapter Outline
Chapter 5. Principles of Design
UNITY AND VARIETY
Henri Matisse, Memory of Oceania
Yayoi Kusama, Infinity Nets [AOWFA]
Annette Messager, Mes Voeux
BALANCE
Isamu Noguchi, Red Cube
Symmetrical Balance
Haruka Kojin, reflectwo
Georgia O’Keeffe, Deer’s Skull with Pedernal
Newar artists at Densatil monastery, Central Tibet, Thirteen-Deity Jnanadakini Mandala
Asymmetrical Balance
Some principles of asymmetrical balance
Gustav Klimt, Death and Life
Tawaraya (Nonomura) Sotatsu, The Zen Priest Choka
Joseph Mallord Turner, The Burning of the Houses of Parliament
Edouard Manet, A Bar at the Folies-Bergère
EMPHASIS AND SUBORDINATION
Henry Ossawa Tanner, The Banjo Lesson
Paul Cézanne, Still Life with Compotier, Pitcher, and Fruit
Francisco de Goya, Executions of the Third of May, 1808
SCALE AND PROPORTION
Claes Oldenburg and Coosje van Bruggen, Plantoir
René Magritte, Delusions of Grandeur II
Stela of the sculptor Userwer (detail)
A royal altar to the hand, from Benin
Leonardo da Vinci, Study of Human Proportions According to Vitruvius
Proportions of the golden section and the golden rectangle
Le Corbusier, The Modulor
Le Corbusier, Notre-Dame-du-Haut, Ronchamp, France
RHYTHM
Maya Lin, Storm King Wave Field
Tawaraya Sotatsu, Painted Fans Mounted on a Screen
Paul Klee, Landscape with Yellow Birds
Leon Battista Alberti, Façade of Sant’Andrea, Mantua
ELEMENTS AND PRINCIPLES: A SUMMARY
Pablo Picasso, Girl Before a Mirror
Hans Baldung Grien, The Three Ages of Woman, and Death
Titian, Venus with a Mirror
Pablo Picasso, Girl Before a Mirror
Artists: Georgia O’Keeffe
Thinking about Art: Points of View
Lecture Topics
1. Balancing unity and variety in design
2. Design conventions of the classical artists: the golden section, hierarchical scale, etc.
3. Using scale and proportion to communicate ideas
4. Analyzing composition and compositional elements
5. Guiding the eye through emphasis
Presenting the Ideas
1. Visual order helps the eye and the brain understand a visual work – how does this happen? How do artists and designers create visual order? Does visual order imply total unity? How do compositional elements and variety help to guide the eye through a composition? How are unity and variety created in a composition by using the elements of art? In reference to works in which the artist seemingly created total unity or variety, rather than a combination of
these, the reasons an artist chooses to make a work as unified as possible…or as varied as possible: what ideas or emotions do such works convey?
2. Define and explain symmetrical and asymmetrical balance, with special emphasis on the general precepts about asymmetrical balance explained by figure 5.9. Also present the concepts of emphasis and subordination and consider the interrelationships among these principles of design. While projecting several images of works such as the Executions of the Third of May, 1808 (fig. 5.16), discuss the artists’ decisions to employ different types of balance and to emphasize or subordinate elements of the work and to successfully communicate ideas and emotions.
3. Discuss scale and proportion, as well as rhythm, as used in the works illustrated in Chapter Five, as well as in works from Chapter Ten (Graphic Design). Presenting examples of cartoons/comics and advertising from current media can also energize the class. Ask the class to select several works from these sources that use scale, proportion, and rhythm to convey messages. Discuss which examples seem most successful or dynamic, and why.
Discussion Topics
1. Do artists in Eastern and Western cultures seem to differ in their use of symmetrical and asymmetrical balance? If so, how and for what purposes?
2. What are some everyday objects that play with expected proportional relationships or were created on an unusual scale? How do we respond to these objects? Why did their designers create them in these ways? Do scale and proportional relationships communicate particular messages? If so, how, and why?
3. How do artists create visual rhythm? For what reasons do they incorporate rhythmical elements in their works? How are viewers influenced or affected by these rhythmic elements?
4. How can we use the principles of design in our daily lives and creative endeavors? Can being aware of these principles help us make judgments and decisions about our surroundings?
Discussing the Ideas: Paper, Class Activity and Project Suggestions
1. Using a large (easily visible in the classroom) picture plane of a solid color or texture, provide a variety of elements (shapes of various colors, textures, sizes; lines or strings, for example) that can be attached and moved around on the picture plane. Have different students suggest or actually manipulate the elements on the picture plane to achieve a design with a good balance of unity and variety… or a design that expresses a concept or emotion. This activity can also be done on a computer, so that the designs created by different students can be saved and later shown and discussed.
2. a. Ask students to find examples of works (in other chapters of the text) that display these principles of design. Guide them in considering and explaining what the principles are and how the artists used them.
b. Use the blank picture plane from #1b above to allow students to experiment with balance and emphasis/subordination.
c. For a lab or home project, ask students to use at least three of the elements of art (color, shape, and line – for instance) to create a design that illustrates one of the types of balance, or that leads the viewer’s eye by emphasis and/or subordination.
3. Ask students to create a business card, a greeting card, a newspaper or magazine advertisement, or a poster that conveys one of the following ideas/emotions by using scale, proportion, and/or rhythm: power, energy, timidity, growth, status, playfulness.
4. Review the general characteristics of informal balance in the text. Then cut out at least ten shapes, some organic and some geometric. Use only three colors and make the shapes of several sizes. Work out several arrangements of the shapes to achieve an asymmetrical, yet visually balanced, design. When you feel that your design is balanced and visually interesting, glue the shapes onto the background – which may be a solid color or texture, or a simply divided picture plane. You may use software to create your design; if so, save and print some of your preliminary designs as well as your final selection.
5. Create a work based on the proportions of the golden section. This may be either a two- or three-dimensional work. Use graph paper or lay out a preliminary grid in light pencil lines
6. Create a collage from photographs or magazine/newspaper images that, like Magritte’s Delusions of Grandeur II, creates a whole that defies the viewer’s expectations of naturalistic proportions.
7. Choose a particular musical composition or a style of music (rock, rap, pop, country, classical music – for instance) and tear or cut pieces of paper and organize them on a surface (two- or three-dimensional) in such a manner that the rhythm of your composition reflects the rhythm of the music you have chosen. Do not use recognizable pictures – like musicians or musical instruments – to create your collage.
8. Present the idea of extreme unity and variety through the works of Yayoi Kusama’s Infinity Nets, the drip paintings of Jackson Pollock and the large canvasses of Agnes Martin. Choose from a variety of media (ink stamps, pens, markers, crayons, collage elements) and create your own unified design by repeating marks or shapes on a blank sheet of paper. How can you introduce variety? How can you keep it unified?