COMICS

PRINTMAKING

QUILTS

MANGA

FASHION ILLUSTRATION

FASHION DESIGN

PAINTINGDIGITAL IMAGING

CALLIGRAPHY

LETTERPRESS

ILLUSTRATION

FIBER

FABRIC

ARCHITECTURAL DESIGN

PHOTOGRAPHYWALLPAPER DESIGN

BOOK DESIGN

BOOK COVER ILLUSTRATION/DESIGN

MIXED MEDIA

CARTOONS

MOVIE STORYBOARDS

POLITICAL CARTOONS

CHILDREN’S ILLUSTRATION

EMBROIDERY

MOSAICSPRODUCT DESIGN

STAINED GLASS

FILM STILLS

AP STUDIO ART 2D DESIGNJERRY STEFL

Arthur Wesley Dow; Silhouetted Trees; 1895

IT IS COMPLICATED

SO BE QUIET AND LISTEN

Arthur Wesley Dow

Composition: A Series of Exercises Selected from a New System of Art Education; 1899.

“Mr. Arthur Wesley Dow, the artist, who declares that ‘art education should begin at composition,…” “the filling of spaces in agreeable and harmonious arrangement…”

Henry Rankin Poore, Pictorial Composition and the Critical Judgment

of Pictures; 1903

WHAT IS 2D DESIGN?

DESIGN refers to the adaptation of means to an END.

…the coordination of parts to produce a result; intent and purpose fasten on the end itself.

…SO PUT ON THE 2D LENS…NOW!

VISUAL ORGANIZATION

“ART SEEKS VISUAL SOLUTIONS IN WHAT IS OFTEN CALLED THE DESIGN PROCESS.” Design Basics; Laurer & Pentak

CES 53

BAUHAUS 1919-33

Joost Schmidt; Poster for a Bauhaus Exhibition; 1923

Laszlo Moholy-Nagy; Photogram; 1926

Joseph Albers; Formulation, Articulation; 1972

Johannes Itten; Die Begegnung; 1916

Hannes Meyer; Konstruction; 1927

Lyonel Feininger; Oberweimar; 1927

TYPES OF 2D ARTRepresentational

E.J. Bellocq; Storyville/Untitled;1912 Karl Wirsum; Oops Goops; Etching 1997

NONREPRESENTATIONAL

Liz Ward; Crazy Weather; watercolor/gouache; 2008

Lee Krasner; Noon; Oil; 1947

Organizing Principles of 2D DESIGN

• Unity

• Emphasis/Focal Point/Contrast

• Scale/Proportion

• Balance

• Rhythm

UNITY

• An integrated image• Agreement exists

among the elements• The parts of the

whole look like they belong together

• Visual connection beyond mere chance

• Elements are harmonious

Wayne Thiebaud; Cakes; Oil; 1963

UNITY THROUGH PROXIMITY

Graffiti

UNITY/PROXIMITY

Romare Bearden; Madeline Jones’ Wonderful Garden; College of various papers, ink, graphite with surface abrasion on fiberboard; 1977

UNITY THROUGH REPETITION

Brian Dettmer; Book Autopsies; Altered books

UNITY/REPETITION

Margaret Bourke-White; Bread Line During the Louisville Flood, Kentucky; Silver Gelatin Print; 1937

UNITY THROUGH CONTINUATION

Jules Feiffer; Big Town; Iris print; 2009

UNITY/CONTINUATION

Banksy; The Thekla; Waterline; Bristol

UNITY USING THE GRID

Harold Michelson; Storyboard, “The Birds;” 1963

UNITY USING THE GRID

Eadweard Muybridge; Ascending Stairs; 1884-85

UNITY USING THE GRID

Manga; Page 9 from “Love Collage;” 2010

UNITY USING THE GRID

Roger Brown; The Young and Self Conscious; Oil; 1991

EMPHASIS/FOCAL POINT/CONTRAST

• An emphasized element can attract attention

• It encourages the viewer to look closer

• Large vs. small• Light vs. dark

Tony Fitzpatrick; O; Color etching; 2000

EMPHASIS BY CONTRAST

Mehdi Saeedi; The 18th International Music Festival; Poster for the Music Center,

Islamic Guidance Ministry; 2003

EMPHASIS BY CONTRAST

Ansel Adams; Bridal Veil Falls, Yosemite Valley; 1929

EMPHASIS BY CONTRAST

Ed Paschke; Paula; Oil on linen; 1972

EMPHASIS BY ISOLATION

David Brebin; Girl in Hong Kong; Digital C-Print; 2010

EMPHASIS BY ISOLATION

Erol/CT’INK; Dresden 09; Spray paint on cardboard; 2010

EMPHASIS BY ISOLATION

Jonathon Hexner; Boy Drinking 3/11; Dynamite Fuse & Utrachrome on paper; 2006

EMPHASIS BY PLACEMENT

Julie Blackmon; Take Off; Digitally constructed photograph, 2009

EMPHASIS BY PLACEMENT

Martin Ramireiz; Title Unknown; melted wax carayon, oatmeal paint on discarded paper; date

unknown

EMPHASIZING THE WHOLE OVER THE PARTS

Joan Miro; II. Ubo Roi: Le Banquet; Lithograph; 1966

EMPHASISING THE WHOLE OVER THE PARTS

Robert Swedroe; Paragon in Red; Oil on canvas; 2007

SCALE AND PROPORTION

• Refers to size• Large scale and small

scale are meaningless without a standard of reference

• Size measured against other elements is proportion

Ali Omar Ermes; The Letter ‘Kaf”-The Power of Expression; 1945

HUMAN SCALE/LARGE VS. SMALL

Christopher Klein; Dreamtime; Oil on Canvas

HUMAN SCALE/LARGE VS SMALL

Deborah Ebbers; Old Giants No. 2; Oil on Panel, 2009

SCALE IN CONTEXT

Kehinde Wiley; Three Graces; Oil/Enamel on canvas; 72x96 inches; 2005

SCALE IN CONTEXT

Magdalena Abakanowicz; Bois-Le-Duc; Sisal and wool weaving; 1970/71

BALANCE

• Distribution of visual weight seeming natural and unposed

• Equal distribution of visual weight on either side of a vertical axis

Mel Bochner; Blah, Blah, Blah; Oil on velvet; 49 x 37 inches; 2009

ASYMMETRICAL OR INFORMAL BALANCE

Matt Kane; And Together We’ll Remain the Parts that make Whole of Our Pain; Oil on canvas

ASYMMETRICAL OR INFORMAL BALANCE

James Mesple; Siren’s Song; Mixed Media; 2008

SYMMETRICAL OR FORMAL BALANCE

Karl Blossfeldt; Indian Balsam

SYMMETRICAL OR FORMAL BALANCE

Hollis Sigler; I Find Hope on the Horizon; Color Lithograph; 1996

Hollis Sigler; She Dreams of Escaping to Hope; Color Intaglio with lithographed mat;

1997

RADIAL SYMMETRY

Wissam Shawkat; Poster for Arabic Calligraphy; Ink; Iraq

RADIAL SYMMETRY

Sally Mann; At Warm Springs; Gelatin Silver Print; 1991

RHYTHM

• Movement across recurrent motifs

• Inherent in repetition• Made up of patterns

and sequences

Ed Paschke; Flamenco; 8 color screen print; 1991

RHYTHM USING REPETITION

Virginia Spiegel; Quilt; Cotton fabric dyed and painted, felting, threads

RHYTHM USING REPETITION

Bass/ Custard Factory/British Arts Council; Nelson Mandela

Marti Waller; Carousel; quilted fabrics

RHYTHM USING PATTERN AND

SEQUENCE

RHYTHM USING PATTERN AND SEQUENCE

Mary Bero; Modern Stories; Threads, embroidery on

cotton, 9x9 ¾ inches

ELEMENTS OF ART

• Can not stand alone• Elements need a principle

to become whole• A sentence needs a verb

and a noun to become a sentence

• A composition needs a verb (principle) and a noun (elements) to become a composition

Line

Shape

Value

Texture

Illusion of Space

Color

Robert Crumb; The Book of Genesis

LINE CAN CONVEY MOOD

LINE CAN DESCRIBE SHAPE

Henry Darger; Illustrations for ‘The Realms of the Unreal; Pencil and watercolor

LINE CREATING DIVERSITY AND EMPHASIS

Susan Rothenberg; Acrylic, pencil on paper, 1978

LINE CREATING DARKS AND LIGHTS

Joseph Yoakum; Mt. Safama Near Oruna Bolivia South America; Ballpoint pen & colored pencil; Feb. 14, 1966

OUTLINE OF FORMS

Orly Cogan; Size Matters; 46 x 46 inches; Handstitched embroidery on vintage tablecloth

EXPLICIT LINES

Brice Marden; Suzhow III; Colored etching, sugarlift, aquatint, drypoint, scraping; 1996-

98

RECTILINEAR SHAPE: POSITIVE/NEGATIVE

Lindon Leader; Leader Creative; FedEx Logo; 1994

CURVILINEAR SHAPE: POSITIVE/NEGATIVE

Reza Abedini; Calligraphic Poster Exhibition

Natural Shapes

Bill Traylor; Red Goat with Snake; Colored pencil on cardboard; 1939-42

EXAGGERATED SHAPES

Gladys Nilsson; Tea Time; Watercolor & gouache on paper;

2001

Luba Lukova; War Is Not the Answer; Poster

AMIBIGUOUS SHAPE

OUTLINED SHAPES

Get Down White Boy; BASS/Custard Factory; British Art Council

TEXTURE: ACTUAL

Amy Clark Moore; Atlanta’s Apple; 4 ¾ x 5 ½ inches; Beaded embroidery; 2004

TEXTURE: ACTUAL

Vadim Katznelson; Fluff; Acrylic/Resin on Board; 14 x 14 inches; 2008

TEXTURE: ACTUAL

Rosabelle Ben; Storm Pattern; Navajo Sandpainter

TEXTURE: IMPLIED

Robert Lostutter; Superb Sunbird; Black and white lithograph; 1991

TEXTURE: IMPLIED

Mickalene Thomas; Afro Goddess with Hand Between Legs; C-Print; 2006

TEXTURE: IMPLIED

Ray Yoshida; Scramble; Oil on Canvas; 54 x 78 inches; 1997

ILLUSION OF SPACE: OVERLAPPING

William Conger; Kabuki; Oil on Canvas; 60 x 96 inches; 2008

ILLUSION OF SPACE: ABSTRACT

John Fraser; Relief With Ruler (In Grey); Acrylic, Mixed Media (Ruler, book spine, book covers) on

wood construction;

ILLUSION OF SPACE: SIZE PROPORTIONS

Archibald Motley, Jr.; Nightlife; Oil on Canvas; 1943

ILLUSION OF SPACE: LINEAR PERSPECTIVE

Daniel Burnham; South Shore Park, Chicago, Illinois: Design Sketch; 1896

ILLUSION OF SPACE: LINEAR PERSPECTIVE

Henry Glass; Fada Radio Design, Red Radio: Presentation Drawing; 1946

ILLUSION OF SPACE: LINEAR PERSPECTIVE

George Tooker; Subway; Egg tempera on composition board; 18 x 36; 1950

ILLUSION OF SPACE: EXAGGERATED SIZE

Mary Jones; Red Table; Mixed media monoprint

VALUE: FULL RANGE

Robert Ziebell; Bridal Gowns; Silver Gelatin Print; 2009

VALUE: SUGGESTING SPACE

Audrey Niffenegger; Plate 7, From ‘The Three Incestuous Sisters; Handcolored etching with

aquatint

VALUE: DARK ON LIGHT

Nancy Spero; Suffragette/Hittite Goddess; Handprinting with printed collage; 1988

VALUE: LIGHT ON DARK

Fred Stonehouse; Untitled (Hood); Acrylic on wood; 24 x 19 inches

COOL COLOR EVOKES

RESPONSE

Pablo Picasso; The Old Guitarist; Oil on canvas; 1903/04

WARM COLOR EVOKES

RESPONSE

Laurie Hogan; Song of Retail #1: Pink Skull Monkey; Oil on panel;

19 x 19 inches

COLOR EVOKES RESPONSE: WARM/COOL CONTRAST

Leon Golub; Interrogation II; Oil on canvas scraped; 1981

MONOCHROMATIC COLOR

Mark Rothko; Untitled Painting; Oil on Canvas; 1953/54

MONOCHROMATIC COLOR

Jeffery Ripple; Bullhead; Oil on paper; 19 x 26

COMPLEMENTARY COLOR

Hans Hoffman; The Golden Wall; Oil on Canvas; 1961

COMPLEMENTARY COLOR

Lola Pettway; Housetop; 2002

COMPLEMENTARY COLOR

Edward Hopper; Nighthawks; Oil on canvas; 1942

COLOR DOMINANCE

Mike Noland; The Stormy Night; Oil on canvas; 36 x 48 inches

SYMBOLIC COLOR

Jasper Johns; Flag; Encaustic, oil, collage on fabric mounted on panels; 42 x 60 inches; 1954/55

SYMBOLIC COLOR

Faith Ringgold; American Quilt

Luba Lukova; Social Security; Poster

SYMBOLIC COLOR

COMICS

PRINTMAKING

QUILTS

MANGA

FASHION ILLUSTRATION

FASHION DESIGN

PAINTINGDIGITAL IMAGING

CALLIGRAPHY

LETTERPRESS

ILLUSTRATION

FIBER

FABRIC

ARCHITECTURAL DESIGN

PHOTOGRAPHYWALLPAPER DESIGN

BOOK DESIGN

BOOK COVER ILLUSTRATION/DESIGN

MIXED MEDIA

CARTOONS

MOVIE STORYBOARDS

POLITICAL CARTOONS

CHILDREN’S ILLUSTRATION

EMBROIDERY

MOSAICSPRODUCT DESIGN

STAINED GLASS

FILM STILLS