Rent 9780534625597 | Design Basics | Lauer,David A. @knetbooks.com

Summary Table of Contents

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... MORE

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Design Principles	p. 1
Design Process	p. 3
Introduction	p. 4
Design Defined	p. 4
Procedures	p. 6
Steps in the Process	p. 6
Thinking	p. 8
Getting Started	p. 8
Form and Content	p. 10
Form and Function	p. 12
Looking	p. 14
Sources: Nature	p. 14
Sources: History and Culture	p. 16
Doing	p. 18
Thinking with Materials	p. 18
Critique	p. 20
Constructive Criticism	p. 20
Unity	p. 23
Introduction	p. 24
Harmony	p. 24
Visual Unity	p. 26
Gestalt	p. 28
Visual Perception	p. 28
Ways to Achieve Unity	p. 30
Proximity	p. 30
Repetition	p. 32
Continuation	p. 34
Continuity	p. 36
Unity with Variety	p. 38
The Grid	p. 38
Varied Repetition	p. 40
Emphasis on Unity	p. 42
Emphasis on Variety	p. 44
Chaos and Control	p. 46
Emphasis and Focal Point	p. 49
Introduction	p. 50
Attracting Attention	p. 50
Ways to Achieve Emphasis	p. 52
Emphasis by Contrast	p. 52
Emphasis by Isolation	p. 54
Emphasis by Placement	p. 56
Degree of Emphasis	p. 58
One Element	p. 58
Absence of Focal Point	p. 60
Emphasizing the Whole over the Parts	p. 60
Scale/Proportion	p. 63
Introduction	p. 64
Scale and Proportion	p. 64
Scale of Art	p. 66
Human Scale Reference	p. 66
Context	p. 68
Scale within Art	p. 70
Internal Proportions	p. 70
Contrast of Scale	p. 72
Scale Confusion	p. 74
Surrealism and Fantasy	p. 74
Proportion	p. 76
Notions of the Ideal	p. 76
Root Rectangles	p. 78
Balance	p. 81
Introduction	p. 82
Imbalance	p. 84
Horizontal and Vertical Placement	p. 84
Symmetrical Balance	p. 86
Architectural Examples	p. 86
Examples from Various Art Forms	p. 88
Asymmetrical Balance	p. 90
Introduction	p. 90
Balance by Value and Color	p. 92
Balance by Texture and Pattern	p. 94
Balance by Position and Eye Direction	p. 96
Analysis Summary	p. 98
Radial Balance	p. 100
Examples in Nature and Art	p. 100
Crystallographic Balance	p. 102
Allover Pattern	p. 102
Rhythm	p. 105
Introduction	p. 106
Visual Rhythm	p. 106
Rhythm and Motion	p. 108
Shapes and Repetition	p. 108
Alternating Rhythm	p. 110
Patterns and Sequence	p. 110
Progressive Rhythm	p. 112
Converging Patterns	p. 112
Rhythmic Sensations	p. 114
Engaging the Senses	p. 114
Design Elements	p. 117
Line	p. 119
Introduction	p. 120
Defining Form	p. 120
Line and Shape	p. 122
Defining Shape	p. 122
Types of Line	p. 124
Actual, Implied, and Psychic Lines	p. 124
Line Direction	p. 126
Horizontal, Vertical, and Diagonal Lines	p. 126
Contour and Gesture	p. 128
Precision or Spontaneity	p. 128
Line Quality	p. 130
Creating Variety and Emphasis	p. 130
Line as Value	p. 132
Using Lines to Create Dark and Light	p. 132
Line in Painting	p. 134
Outline of Forms	p. 134
Explicit Line	p. 136
Lost-and-Found Contour	p. 138
Suggestions of Form	p. 138
Shape/Volume	p. 141
Introduction	p. 142
Volume/Mass	p. 144
Working in Two and Three Dimensions	p. 144
Naturalism and Distortion	p. 146
Exaggerated Shapes	p. 146
Naturalism and Idealism	p. 148
Nature Improved	p. 148
Abstraction	p. 150
Essence of Shape	p. 150
Nonobjective Shapes	p. 152
Pure Forms	p. 152
Rectilinear and Curvilinear Shapes	p. 154
Positive/Negative Shapes	p. 156
Introduction	p. 156
Integration	p. 158
Confusion	p. 160
Texture	p. 163
Introduction	p. 164
Adding Visual Interest	p. 164
Tactile Texture	p. 166
Actual and Implied	p. 166
Collage	p. 168
Visual Texture	p. 170
Visual Impression	p. 170
Trompe L'oeil	p. 172
Texture and Pattern	p. 174
Variation versus Regularity	p. 174
Illusion of Space	p. 177
Introduction	p. 178
Occupying Space in Two Dimensions	p. 178
Devices to Show Depth	p. 180
Size	p. 180
Exaggerated Size	p. 182
Overlapping	p. 184
Vertical Location	p. 186
Aerial Perspective	p. 188
Linear Perspective	p. 190
One-Point Perspective	p. 192
Two-Point Perspective	p. 194
Multipoint Perspective	p. 196
Amplified Perspective	p. 198
A Different Point of View	p. 198
Multiple Perspective	p. 200
A Pictorial Device	p. 200
Isometric Projection	p. 202
A Spatial Illusion	p. 202
Open Form/Closed Form	p. 204
The Concept of Enclosure	p. 204
Transparency	p. 206
Equivocal Space	p. 206
Spatial Puzzles	p. 208
Ignoring Conventions	p. 208
Illusion of Motion	p. 211
Introduction	p. 212
Reflecting the World around Us	p. 212
Anticipated Motion	p. 214
"Seeing" the Action	p. 214
Ways to Suggest Motion	p. 216
Figure Repeated, Figure Cropped	p. 216
Blurred Outlines	p. 218
Multiple Image	p. 220
Value	p. 223
Introduction	p. 224
Light and Dark	p. 224
Value Pattern	p. 226
Variations in Light and Dark	p. 226
Value as Emphasis	p. 228
Creating a Focal Point	p. 228
Value and Space	p. 230
Using Value to Suggest Space	p. 230
Techniques	p. 232
An Overview	p. 232
Color	p. 235
Introduction	p. 236
Color Theory	p. 236
Color Characteristics	p. 238
Light and Color Perception	p. 238
Influence of Context	p. 240
Properties of Color	p. 242
Hue	p. 242
Value	p. 244
Intensity/Complementary Colors	p. 246
Visual Color Mixing	p. 248
Techniques That Suggest Light	p. 248
Cool/Warm Colors	p. 250
Identifying Color with the Senses	p. 250
Color as Emphasis	p. 252
Color Dominance	p. 252
Color and Balance	p. 254
Achieving Balance within Asymmetrical Composition	p. 254
Color and Space	p. 256
Color's Spatial Properties	p. 256
Color Schemes	p. 258
Monochromatic/Analogous	p. 258
Complementary/Triadic	p. 260
Color Discord and Vibrating Colors	p. 262
Unexpected Combinations	p. 262
Color Uses	p. 264
Local, Optical, Arbitrary	p. 264
Emotional Color	p. 266
Color Evokes a Response	p. 266
Color Symbolism	p. 268
Conceptual Qualities of Color	p. 268
Color versus Value	p. 270
A Continuing Debate	p. 270
Glossary	p. 272
Bibliography	p. 275
Photographic Sources	p. 277
Index	p. 279
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