Design Basics

ISBN-10: 0534625592
ISBN-13: 9780534625597
Edition: 6th 2005 (Revised)
List price: $113.95
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Description: DESIGN BASICS is a popular introduction to two-dimensional design. Each concept is presented in a full two- or four-page spread, making the text practical and easy for students to refer to while they work. The modular format also gives instructors  More...

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Book details

List price: $113.95
Edition: 6th
Copyright year: 2005
Publisher: Wadsworth
Publication date: 2/23/2004
Binding: Paperback
Pages: 288
Size: 8.75" wide x 10.50" long x 0.75" tall
Weight: 2.266
Language: English

DESIGN BASICS is a popular introduction to two-dimensional design. Each concept is presented in a full two- or four-page spread, making the text practical and easy for students to refer to while they work. The modular format also gives instructors the utmost flexibility in organizing their course. Visual examples from many periods, peoples, and cultures are provided for all elements and principles of design, and the diversity of illustrations also includes examples from nature and non-art sources, encouraging students to see these principles in the world.

David Lauer is a poet and translator who lives in Chihuahua, Mexico.

Stephen Pentak received his BA from Union College in New York, and his MFA from Tyler School of Art at Temple University. He is Professor Emeritus of Art, and a past Associate Dean of the College of the Arts at Ohio State University. He has been the recipient of four Ohio Arts Council Fellowships and he has been a visiting resident artist at Delfina Studios in London, and Glasgow School of Art. Pentak's recent solo exhibitions include shows at Kathryn Markel Fine Arts in New York and Susan Street in San Diego. He is co-author of COLOR BASICS as well as DESIGN BASICS.

Design Principlesp. 1
Design Processp. 3
Introductionp. 4
Design Definedp. 4
Proceduresp. 6
Steps in the Processp. 6
Thinkingp. 8
Getting Startedp. 8
Form and Contentp. 10
Form and Functionp. 12
Lookingp. 14
Sources: Naturep. 14
Sources: History and Culturep. 16
Doingp. 18
Thinking with Materialsp. 18
Critiquep. 20
Constructive Criticismp. 20
Unityp. 23
Introductionp. 24
Harmonyp. 24
Visual Unityp. 26
Gestaltp. 28
Visual Perceptionp. 28
Ways to Achieve Unityp. 30
Proximityp. 30
Repetitionp. 32
Continuationp. 34
Continuityp. 36
Unity with Varietyp. 38
The Gridp. 38
Varied Repetitionp. 40
Emphasis on Unityp. 42
Emphasis on Varietyp. 44
Chaos and Controlp. 46
Emphasis and Focal Pointp. 49
Introductionp. 50
Attracting Attentionp. 50
Ways to Achieve Emphasisp. 52
Emphasis by Contrastp. 52
Emphasis by Isolationp. 54
Emphasis by Placementp. 56
Degree of Emphasisp. 58
One Elementp. 58
Absence of Focal Pointp. 60
Emphasizing the Whole over the Partsp. 60
Scale/Proportionp. 63
Introductionp. 64
Scale and Proportionp. 64
Scale of Artp. 66
Human Scale Referencep. 66
Contextp. 68
Scale within Artp. 70
Internal Proportionsp. 70
Contrast of Scalep. 72
Scale Confusionp. 74
Surrealism and Fantasyp. 74
Proportionp. 76
Notions of the Idealp. 76
Root Rectanglesp. 78
Balancep. 81
Introductionp. 82
Imbalancep. 84
Horizontal and Vertical Placementp. 84
Symmetrical Balancep. 86
Architectural Examplesp. 86
Examples from Various Art Formsp. 88
Asymmetrical Balancep. 90
Introductionp. 90
Balance by Value and Colorp. 92
Balance by Texture and Patternp. 94
Balance by Position and Eye Directionp. 96
Analysis Summaryp. 98
Radial Balancep. 100
Examples in Nature and Artp. 100
Crystallographic Balancep. 102
Allover Patternp. 102
Rhythmp. 105
Introductionp. 106
Visual Rhythmp. 106
Rhythm and Motionp. 108
Shapes and Repetitionp. 108
Alternating Rhythmp. 110
Patterns and Sequencep. 110
Progressive Rhythmp. 112
Converging Patternsp. 112
Rhythmic Sensationsp. 114
Engaging the Sensesp. 114
Design Elementsp. 117
Linep. 119
Introductionp. 120
Defining Formp. 120
Line and Shapep. 122
Defining Shapep. 122
Types of Linep. 124
Actual, Implied, and Psychic Linesp. 124
Line Directionp. 126
Horizontal, Vertical, and Diagonal Linesp. 126
Contour and Gesturep. 128
Precision or Spontaneityp. 128
Line Qualityp. 130
Creating Variety and Emphasisp. 130
Line as Valuep. 132
Using Lines to Create Dark and Lightp. 132
Line in Paintingp. 134
Outline of Formsp. 134
Explicit Linep. 136
Lost-and-Found Contourp. 138
Suggestions of Formp. 138
Shape/Volumep. 141
Introductionp. 142
Volume/Massp. 144
Working in Two and Three Dimensionsp. 144
Naturalism and Distortionp. 146
Exaggerated Shapesp. 146
Naturalism and Idealismp. 148
Nature Improvedp. 148
Abstractionp. 150
Essence of Shapep. 150
Nonobjective Shapesp. 152
Pure Formsp. 152
Rectilinear and Curvilinear Shapesp. 154
Positive/Negative Shapesp. 156
Introductionp. 156
Integrationp. 158
Confusionp. 160
Texturep. 163
Introductionp. 164
Adding Visual Interestp. 164
Tactile Texturep. 166
Actual and Impliedp. 166
Collagep. 168
Visual Texturep. 170
Visual Impressionp. 170
Trompe L'oeilp. 172
Texture and Patternp. 174
Variation versus Regularityp. 174
Illusion of Spacep. 177
Introductionp. 178
Occupying Space in Two Dimensionsp. 178
Devices to Show Depthp. 180
Sizep. 180
Exaggerated Sizep. 182
Overlappingp. 184
Vertical Locationp. 186
Aerial Perspectivep. 188
Linear Perspectivep. 190
One-Point Perspectivep. 192
Two-Point Perspectivep. 194
Multipoint Perspectivep. 196
Amplified Perspectivep. 198
A Different Point of Viewp. 198
Multiple Perspectivep. 200
A Pictorial Devicep. 200
Isometric Projectionp. 202
A Spatial Illusionp. 202
Open Form/Closed Formp. 204
The Concept of Enclosurep. 204
Transparencyp. 206
Equivocal Spacep. 206
Spatial Puzzlesp. 208
Ignoring Conventionsp. 208
Illusion of Motionp. 211
Introductionp. 212
Reflecting the World around Usp. 212
Anticipated Motionp. 214
"Seeing" the Actionp. 214
Ways to Suggest Motionp. 216
Figure Repeated, Figure Croppedp. 216
Blurred Outlinesp. 218
Multiple Imagep. 220
Valuep. 223
Introductionp. 224
Light and Darkp. 224
Value Patternp. 226
Variations in Light and Darkp. 226
Value as Emphasisp. 228
Creating a Focal Pointp. 228
Value and Spacep. 230
Using Value to Suggest Spacep. 230
Techniquesp. 232
An Overviewp. 232
Colorp. 235
Introductionp. 236
Color Theoryp. 236
Color Characteristicsp. 238
Light and Color Perceptionp. 238
Influence of Contextp. 240
Properties of Colorp. 242
Huep. 242
Valuep. 244
Intensity/Complementary Colorsp. 246
Visual Color Mixingp. 248
Techniques That Suggest Lightp. 248
Cool/Warm Colorsp. 250
Identifying Color with the Sensesp. 250
Color as Emphasisp. 252
Color Dominancep. 252
Color and Balancep. 254
Achieving Balance within Asymmetrical Compositionp. 254
Color and Spacep. 256
Color's Spatial Propertiesp. 256
Color Schemesp. 258
Monochromatic/Analogousp. 258
Complementary/Triadicp. 260
Color Discord and Vibrating Colorsp. 262
Unexpected Combinationsp. 262
Color Usesp. 264
Local, Optical, Arbitraryp. 264
Emotional Colorp. 266
Color Evokes a Responsep. 266
Color Symbolismp. 268
Conceptual Qualities of Colorp. 268
Color versus Valuep. 270
A Continuing Debatep. 270
Glossaryp. 272
Bibliographyp. 275
Photographic Sourcesp. 277
Indexp. 279
Table of Contents provided by Ingram. All Rights Reserved.

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