Principles of Design Some

PRINCIPLES OF DESIGN REPETITION VARIATION CONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent ECONOMY PROPORTION SCALE Some

|_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ Repetition in Art Creates visual rhythm /////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\ >>>>>>>>>>>>>>> <<< <<< <<< <<< <<< O OO OO OOO OO OO O and patterns XXXXXXXX

Andy Warhol, Orange Disaster No. 5, 1963

Eadweard Muybridge, photographer

Monet Poplars...

Charles Demuth, The Figure 5 in Gold, 1928

Cimabue, Madonna Enthroned, TEXTBOOK p. 185

VARIATION: the alliance between repetition and surprise

The Four Evangelists, from the Gospel Book of Charlemagne, early 9 th century TEXTBOOK p. 135

dancers

CAILLEBOTTE, Gustave Paris: A Rainy D ay, 1877, Oil on canvas, 83 1/2 x 108 3/4"

CONTRAST

Night Attack on the Sanjo Palace (detail) Japan, Kamakura period, second half of the 13th Century Handscroll; ink and color on paper 16 1/4 x 275 1/2 in.

David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

Contrasts & Oppositions in Hockney’s Portrait of an Artist Diagonal/horizontal Straight/curved lines Air/water/Earth fire? Natural/artificial Clothed/(nearly) naked Tint/shade (light/shadow) colors What is the psychological relationship between the two men? Which of them is the “artist” in the title? Is it two sides of one person, the “artist”?

Degas Waiting

Contrasts in Degas’s Waiting (1882, pastel) WHITE – BLACK COLOR – NO COLOR OPEN – CLOSED YOUNG – OLD PERFORMER – SUPPORTER BUSY – EMPTY INWARD GAZE – OUTWARD GAZE

Rogier van der Weyden Netherlandish, 1399/ Portrait of a Lady, c oil on panel, painted surface: 34 x 25.5 cm (13 3/8 x 10 1/16 in.) panel: 37 x 27 cm (14 1/16 x 10 5/8 in.) Broad, plain areas contrast with tangle of fingers

Winslow Homer American, Right and Left, 1909 oil on canvas, 71.8 x cm (28 1/4 x 48 3/8 in.)

John Singer Sargent American, Nonchaloir (Repose), 1911 oil on canvas, 63.8 x 76.2 cm (25 1/8 x 30 in.) Appropriate clothes?

Gilbert Stuart American, The Skater (Portrait of William Grant), 1782 oil on canvas, x cm (96 1/4 x 58 in.) Stately, stable figure – on skates!

BALANCE symmetry E Q U I L I B R I U M

Leonardo da Vinci, Proportions of the Human Figure (“Vitruvian Man”) TEXTBOOK p. 192

Shiva, bronze temple sculpture, Chola Era (9 th -13 th C.), South India

Durer Dancing Peasants 1514

Master of the Saint Lucy Legend Bruges, active c c Mary, Queen of Heaven, c. 1485/1500 oil on panel, painted surface: x cm (78 7/16 x 63 3/4 in.)

Frida Kahlo, The Two Fridas, 1939

Alfred Sisley, The Chemin de By through Woods at Roches- Courtaut, St. Martin's Summer, 1880

Assymetical balance?

EMPHASIS accent

David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

Andy Warhol, Orange Disaster No. 5, 1963 not a good example of EMPHASIS

PROPORTION

Leonardo: The Last Supper, 1498

Diego Rivera, The Flower Carrier, 1935, 48x48 in.

Joseph Mallord William Turner British, 1775–1851. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840 Oil on canvas, 35 3/4 x 48 1/4 in.

Shahn, Ben, Vacant Lot, 1939 Watercolor and gouache on paper mounted on plywood panel, 19 x 23 in

Carlo Crivelli Venetian, c. 1430/ Madonna and Child Enthroned with Donor, 1470 tempera on panel, painted surface: x 50.7 cm (49 5/16 x 19 15/16 in.) including unpainted margins: x 54.4 cm (51 x 21 7/16 in.) donor

SCALE SCALE - the size of a work compared to the environment: miniature, human, monumental. The term can also apply to musical works, although it has an entirely different meaning than “musical scale.” (“A symphony is a large-scale musical work when compared to a song.”)

Claes Oldenburg, Knife Ship I, 1985 Vinyl-covered wood, steel, and aluminum with motors, dimensions variable, maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.

Miniature Leaf from Futuh al-Haramain (Description of the Two Holy Cities of Mecca and Medina), mid-16th century; Ottoman, 8x5 in.

a bit bigger...

Georgia O’Keefe on scale & flowers: Nobody sees a flower—really—it is so small—we haven’t time—and to see it takes time, like to have a friend takes time.... So I said to myself—I’ll paint what I see—what the flower is to me—but I’ll paint it big.... I will make even busy New Yorkers take time to see what I see of flowers.

Geogia O'Keeffe American, 1887–1986, White Rose with Larkspur, No. 2, 1927, Oil on canvas; 40 x 30 in.

Geogia O'Keeffe Jimson Weed 70x84 in Scale has to do with the size of the work itself

PRINCIPLES OF DESIGN REPETITION VARIATION CONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent ECONOMY PROPORTION SCALE Some

George Bellows American, Both Members of This Club, 1909 oil on canvas, 115 x cm (45 1/4 x 63 1/8 in.)