User:BillyChatterton/FND101 2-D Design

Week 4 Outline (Scale and Proportion)
 Design Basics: Chapter 4: Scale and Proportion Billy Chatterton – August 10, 2009 I.	Introduction (p.72)
 * Scale and Proportion (p.72)

Scale and proportion are related terms: Both basically refer to size

Proportion: def: Size measured against other elements or against a mental norm or standard. Scale and proportion are closely tied to emphasis and focal point.
 * 1) 	Using Scale and Proportion for Emphasis (p.73)

Hieratic Scaling: def: A composition in which the size of figures is determined by their thematic importance.

'''II. Scale of Art''' (p.74)
 * Human Scale Reference (p.74)

One way to think of artistic scale is to consider the scale of the work itself—its size in relation to other art, in relation to its surroundings, or in relation to human size. Sheer size does impress us.

Fresco: def: A mural painting technique in which pigments mixed in water are used to form the desired color. These pigments are then applied to wet lime plaster, thereby blinding with and becoming an integral part of a wall. Earthworks: def: Artworks created by altering a large area of land using natural and organic materials. Earthworks are usually large-scale projects that take formal advantage of the local topography.
 * 1) 	The Power of Unusual Scale (p.74)
 * Context (p.76)

Pop Artists: def: An art movement originating in the 1960s that sought inspiration from everyday popular culture and the techniques of commercial art.

'''III. Scale Within Art''' (p.78)
 * Internal Proportions (p.78)
 * 1) 	Using Scale to Effect (p.79)
 * Contrast of Scale (p.80)
 * 1) 	Unexpected or Exaggerated Scale (p.80)
 * 2) 	Large and Small Scale Together (p.81)

'''IV. Scale Confusion''' (p.82)
 * Surrealism and Fantasy (p.82)

The deliberate changing of natural scale to emphasize importance

Surrealism: def: An artistic style that stresses fantastic and subconscious approaches to art making and often results in images that cannot be rationally explained.

Enigmatic: def: Puzzling or cryptic in appearance or meaning.

V.	Proportion (p.84)
 * Notions of the Ideal (p.84)

We judge the proportions of something to be correct if the ratio of one element to another is correct.

Golden Rectangle: def: The ancient Greek ideal of a perfectly proportioned rectangle using a mathematical ratio call the Golden Mean.

Subjective: def: Reflecting a personal bias.
 * 1) 	Finding the Golden Rectangle (p.85)

Golden Mean: def: A mathematical ratio in which width is to length as length is to length plus width. This ratio has been employed in design since the time of the ancient Greeks. It can also be found in natural forms.

3:5 proportion
 * Root Rectangles (p.86)

Façade: def: The face or frontal aspect of a form.
 * 1) 	Root Five Rectangles (p.86)
 * 2) 	Exploring Roots in Art and Design (p.86)

Week 3 Outline (Emphasis & Focal Point)
Design Basics: Chapter 3: Emphasis & Focal Point

Billy Chatterton – August 3, 2009

I.	Introduction (p.56)

Focal Point: def: A compositional device emphasizing a certain area of object to draw attention to the piece and to encourage closer scrutiny of the work. '''II. Ways to Achieve Emphasis''' (p.58) Use of light and dark contrast to show the focal point Value: def: A measure of relative lightness or darkness. If many elements point to one item, our attention is directed there.
 * Attracting Attention (p.56)
 * 1) 	Using Focal Point for Emphasis (p.56)
 * Emphasis By Contrast (p.58)
 * 1) 	Creating a Focal Point through Contrast (p.58)
 * Emphasis By Isolation (p.60)
 * 1) 	Creating a Focal Point Through Isolation (p.60)
 * Emphasis By Placement (p.62)
 * 1) 	Creating a Focal Point through Placement (p.62)

'''III. Degree of Emphasis''' (p.64) A focal point, however strong, should remain related to and part of the overall.
 * One Element (p.64)
 * 1) 	Maintaining Unity with a Focal Point (p.64)

'''IV. Absence of Focal Point''' (p.66) A definite focal point is not a necessity. An artist may wish to emphasize the entire surface of a composition over an individual element.
 * Emphasizing The Whole Over The Parts (p.66)

Collage: def: An artwork created by assembling and pasting a variety of materials onto a two-dimensional surface.

Installation: def: A mixed-media artwork that generally takes into account the environment in which it is arranged.

V.	The Role of Perception (p.68) The mechanics of visual perception and the psychology of visual perception are both at work in the experience of emphasis in art and design.
 * Optical and Psychological (p.68)

Week 2 Outline (Unity)
Design Basics: Chapter 2: Unity

Billy Chatterton – July 28, 2009

I.	Introduction '''II. Gestalt''' '''III. Ways to Achieve Unity''' '''IV. Unity With Variety''' V.	Unity At Work
 * Harmony
 * 1) 	Where Does Unity Come From?
 * Visual Unity
 * 1) 	Exploring Visual Unity
 * Visual Perception
 * 1) 	How We Look for Unity
 * Proximity
 * 1) 	Proximity in Composition
 * Repetition
 * Continuation
 * 1) 	Continuation Can Be Subtle or Deliberate
 * 2) 	Three-Dimensional Design
 * Continuity And The Grid
 * 1) 	Serial Design
 * 2) 	Using a Grid
 * 3) 	Grid Design on the Internet
 * The Grid
 * 1) 	Using the Grid Effectively
 * Varied Repetition
 * 1) 	Variety Adds Visual Interest
 * Emphasis on Unity
 * 1) 	Unity through Repetition
 * Emphasis on Variety
 * 1) 	Variety in Form, Size, Color, and Gesture
 * Chaos and Control
 * Figurative and Nonobjective