Lauren Wesley
Foundation Design I
Design Basics: Chapter 3: Emphasis and Focal Point, Chapter 6: Rhythm, Chapter 7: Line
Chapter 3: Emphasis and Focal Point
Introduction:
Focal Point
Ø Focal point- Is an element used to capture the viewer’s attention to look deeper into a work of art. It can allow the viewer to analyze and depict a message within. In purely abstract or nonobjective patterns, a focal point will attract the viewer’s eye and give some contrast and usual emphasis.
o Connotation: Focal point is what captures the viewer’s eye from the first glance.
o Example: Stuart Davis. Ready to Wear. (1955). The painting by Stuart Davis is a pattern of simple, bold forms in bright, flat colors. The more complicated curving black shape near the center provides a change and becomes the focal point.
Ways to achieve emphasis
Emphasis by contrast
Ø When most of the elements are dark, light form breaks the pattern and becomes a focal point.
Ø When almost all the elements (whether light or dark) are vertical, a diagonal element is emphasized.
Ø In an overall design of distorted expressionistic forms, the sudden introduction of naturalistic image will draw the eye for its very different style.
Ø When many elements are about the same size, similar but unexpectedly smaller ones become visually important.
Ø When the majority of shapes are rectilinear and angular parallelograms, round shapes stand out.
Emphasis by Isolation
Ø A variation on the device of the emphasis by contrast is the useful technique of the emphasis by isolation.
Ø Value- the lightness and darkness of color.
o Connotation- High and low contrast of color.
Emphasis by Placement
Ø The placement of elements in a design may function in another way to create emphasis. If many elements point to one item, or attention is directed there, and a focal point results.
Ø A radical design is a perfect example of this device. As all forms radiate from the convergent focus, they repeatedly lead our eyes back to this central element.
o Example: Maurice Utrillo. Church of Le Sacre Coeur, Montmartre et rue saint- Rustique. N.d. In the Utrillo’s painting the domed church is the focal point, though it is small and seems to be the farthest away from us. But, just as in the design, all the other larger elements point our eyes toward it. The perspective lines of the buildings, roofs, fence, and the street all direct our eyes back to the church.
Degree of Emphasis
Ø The use of the strong visual emphasis on one element is not unusual. In the graphic design of the newspaper advertisement, bill boards, magazine covers, and so on. We often see an obvious emphasis on one element.
Absence of Focal Point
Ø A definite focal point is not a necessity in creating a successful design. It is a tool that artist may or may not use, depending on their aims. An artist may wish to emphasize the entire surface of a composition over any individual element.
o Example: Lee Krasner. Untitled. 1949. Lee Krasner’s painting (oil on composition board) depicts similar shapes and texture, which are repeated throughout the painting. The artist creates an ambiguous visual environment that is puzzling. Dark and light areas repeat over the surface in an even distribution, and no one area stands out. The painting has no real starting point or visual climax.
Chapter 6: Rhythm
Introduction:
Ø Rhythm- as a design principle is based on repetition. Rhythm involves a clear repetition of elements that are the same or only slightly modified.
o Connotation: rhythm in art and design can be describes as the reappearance of various elements; such as color, shape, lines, etc.
o Example: Charles Rennie Mackintosh. Chair (1904) has a crisp rhythm in the repetition of vertical slats. The squares formed by the crossing horizontals create a rhythmic pattern as well. This second rhythm gains emphasis toward the top of the chair. The curve of the chairs back subtly alters these patterns.
Rhythm and Motion
Ø Legato- connecting and slowing
o Connotation- legato means connecting at a slow pace.
o Example: Bruce Barnbaum. Dune Ridges at Sunrise, Death Valley. (1976).The photograph of the Death Valley shows the sand dune ridges in undulating, flowing horizontal curves. The dark and light contrast is quite dramatic, but in several places the changes are soft with smooth transitions. The feeling is relaxing and calm.
Ø Staccato- abrupt changes with a dynamic contrast.
o Connotation- staccato means sudden changes within a design, with a vibrant appeal.
Alternating Rhythm
Ø Alternating rhythm- to alternate consistently with one another to produce a regular sequence.
o Connotation- alternating rhythm can be described as a change in a variety of rhythm, used to create a thorough sequence.
o Example: Le Corbusier. Unite d’Habitation. (1947- 1952). The exterior stairway of Le Corbuiser’s building shows this type of rhythm. The design involves a sequence of forms that not only alternate in dark and light areas but shift regularly back and forth from straight edges to curves.
Progressive Rhythm
Ø Progressive rhythm- the rhythm involves repetition, but repetition of a shape that changes in a regular manner. This type of rhythm is most often achieved with a progressive variation of the size of a shape, though its color, value, or texture could be the varying element.
o Connotation- progressive rhythm can be described as a repeating of a shape that changes with little variation. The variation of the shape is its size but it stays at a constant pattern.
o Example: Edward Ruscha. Goodyear Tires, 6610 Laurel Canyon. North Hollywood. (1967). In the rhythmic sequence of lines moving vertically across the format is immediately obvious. A more subtle progressive rhythm appears when we notice the dark shapes of the oil stains in the parking spaces. These changes in size, becoming progressively smaller farther away from the building. In this photograph from an aerial vantage point, a rhythm is revealed in the ordinary pattern of human habits.
Rhythmic Sensations
Ø Kinesthetic- when a visual experience actually stimulates one of our other senses.
o Connotation- kinesthetic can be described as seeing something and have it trigger one of our other four senses.
o Example: Charles Burchfield. The Insect Chorus. (1917). Charles Burchfield’s painting is one level, depiction of the roof line of a building set among trees and plants. A description of the painting’s many rhythmic patterns would come closer to explaining the title. Repeated curves, zigzags, and straight linear elements throughout the picture literally buzz and create the sensation of a hot summer afternoon alive with the sound of cicadas. Even the sensation of heat is evoked by the rhythm of wavering lines above the rooftop.
Chapter 7: Line
Introduction
Ø Line- line consists only of the dimension of its length, but in terms of art and design, we know line can have varying width as well.
o Connotation: line can have multiple shapes and sizes ranging in width and height.
o Example: Janet Lucroy. Computer generated image. The image depicts tree branches are all linear but they vary in thickness.
Ø Contours – an outline or silhouette.
o Connotation- contour can be described as an outline of a figure.
Line and Shape
Ø Line – line is important to artist because it can describe shape, and by shape we recognize objects.
Line Direction
Types of Lines
Ø Implied Line- is created by positioning a series of points so that the eye tends automatically to concept them.
o Connotation- Implied line can be described as positioning lines to capture the viewer’s eye.
Ø Psychic line- there is no real line, not even intermittent points; yet we feel a line, mental connection between two elements.
o Connotation- psychic line can be described as not physically being a line but the viewer imagines there being one.
Ø Horizontal line- such as a standing body has more potential of activity.
o Connotation- horizontal line has the ability to produce more activity than any other lines.
Ø Diagonal line- implies movement and action.
o Connotation- diagonal line can be described as movement and action within a piece of art work. It allows the viewers eye to travel at an angle.
Contour and Gesture
Ø Drawing (two types) contour and gesture
o Contour- when line is used to follow the edges of forms, to describe their outlines.
o Connotation- contour drawing can be described as a line or lines that outline forms within a drawing.
§ Example: Jean- Auguste-Dominique Ingres. Portrait of Mme. Hayward and Her Daughter Caroline. (1815). The portrait by Ingres is a precise drawing with extremely delicate lines carefully describing the features and the folds of the clothing.
o Gesture- is drawings of the movement, weight and posture. It’s quick and spontaneous because it captures the momentary changing aspect of the subject rather than recording nuances of form.
o Connotation- gesture drawing can be described as a quick sketch of something moving.
§ Example: Rembrandt. Christ Carrying the Cross. c. (1635) This drawing is a gesture drawing. Some quickly drawn lines suggest the contours, but most of the lines are concerned with the action of the falling moving figures.
Line Quality
Ø Line quality- the quality of line can be described as thin, thick, rough, or smooth.
o Connotation- line quality can be described as the width and texture of a line.
Line as Value
Ø A single line can show the shape of objects. But an outlined shape is essentially flat; it does not suggest the volume of the original subject. As the artist draws, the resulting areas of dark and light (called areas of value) can begin to give the three dimensional quality lacking in pure contour line.
Ø Cross hatching- used to create areas of gray, which give fullness to the figure.
o Connotation- cross hatching can be described as; used to create gray areas within art work. It helps bring forth fullness to a figure so the figure can be more defined.
Line in Painting
Outline of Forms
Ø Line becomes important to painting when the artist purposely chooses to outline forms.
o Example: Alice Neel. Nancy and the Rubber Plant. (1975). In Alice Neel portrait: dark lines define the edges of the figure, the chair, and the large plant. The lines are bold and quite obvious.
Explicit Line
Ø Line becomes important in a painting when the contours of the forms are sharply defined and the viewer’s eye is drawn to the edges of the various shapes.
o Example: Jacques Louis David. The Death of Socrates. (1787). David’s painting; “The Death of Socrates” contains no actual outlines. However, the contour edges of the many figures are very carefully defined. A clean edge separates each of the elements in the painting, so that a line tracing of these edges would show us the whole scene.
Lost- and- Found Contour
Ø Now you see it, now you don’t. The artist gives us a view clues, and we fill in the rest.
o Example: When we see a sharply defined hand, we will automatically assume an aim is there, although we do not see it.
Reproduction of Artwork
Designer: Unknown
How was it constructed: Shoes made from genetically engineered stingrays. Ray fish footwear brings customization to a whole new level. Customers get to customize and purchase their own shoes with the use of genuine sting ray leather.
When was it constructed/ publicly announced: Although they have been in operation for more than a decade, 2011 marked a milestone in which the company successfully engineered their first bio- customized stingray using a technique which they have developed that allows you to design your own transgenic stingray.
Fun Facts: At the ray fish footwear lab, at birth, the scientist use the DNA which they have stored in their genetic library, to identify the genes responsible for the color and pattern, implanting the synthetic ‘supergene’ in fetal rays before they are even born. As the sting rays grow and mature, their skin begins to show the predetermined patterns that they were given at birth. As a result, markings and coloration from dozens of varying species can be combined and forming a variety of shoe designs.
Where was it constructed: Unknown
The ray fish sneakers captured my attention at first glance. At first I couldn’t tell whether the design was hand crafted but after reading the article I discovered that the leather of the shoe is actual stingray skin!!! It’s kind of scary to think that the design of the stingray leather was given to the stingray at birth. There is a focal point within the shoe, which would be the detailed indentations within the pattern. As a viewer, my eye is drawn to the harden bubbles within the pattern. There is also ‘kinesthetic’ going on. As I begin to look at the ray fish sneaker it triggers my other senses, which is touch. I automatically want to touch the sneaker to feel whether it’s rough or bumpy.
In the shoe layout is alternating rhythm, because the flow of the pattern is changing but it stays at a constant sequence. Not only is there alternating rhythm, but progressive rhythm can be detected as well. There is a variation of size and color; however, they all combine into one. Then there is range of value. There is dark blue and light blue mixed within each other which gives a since of dark and light value in terms of blue.
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