DESIGN

• Scale and proportion

  refer to size
• Scale is a means of measuring
• Proportion refers to relative size—size measured against other elements or against some mental norm or standard.
• Scale and proportion are closely tied to emphasis and focal point.
• Scale of Art

  1. Human Scale Reference
  2. Internal Proportions and References
  3. Contrast Of Scale (Unexpected/Exaggerated Scale)
• Human scale reference - the size of an object that can be easily perceived by human senses, such as sight, touch, hearing, smell, taste, etc.
• Internal proportions and references - the relationship between different parts within an artwork, such as the ratio of width to height, length to breadth, etc.
• Contrast of scale (unexpected/exaggerated scale) - using exaggerated sizes or unexpected scales to create visual interest and impact.
• The human scale can best be described as the relationship between a body and its surroundings and a body is nothing if not the undeniable connection between our sensorial experience within the material world and how we perceive it within our own minds.
• Sheer Scale

  Used to emphasize how very great, important, or powerful a quality or feeling is.
• Manipulating Scale

  1. HIERATIC SCALE AND FANTASY

  The deliberate changing of natural scale is not unusual in painting. In religious paintings many artists have arbitrarily increased the size of the diety figure to emphasize philosophic and religious importance
• Surrealism is an art form based on paradox, on images that cannot be explained in rational terms.
• Surrealism

  artists who work in this manner present the irrational world of the dream or nightmare— recognizable elements in impossible situations.
• Proportion

  THE HUMAN STANDARD

  Leonardo’s famous drawing (A) is based on standards first set by the Roman architect Vitruvius.
• The Human Standard

  When these are set as a standard of perfection, the result becomes entrenched as a canon of proportion.
• artworks provoke a “crisis of the object.” They cause us to pause and reconsider how we know things.
• 2. GEOMETRY AND NOTIONS OF THE IDEAL Proportion is linked to ratio
• The ancient Greeks desired to discover ideal proportions, and these took the form of mathematical ratios. The Greeks found the perfect body to be seven heads tall and even idealized the proportions of the parts of the body.
• the golden rectangle has influenced art and design throughout the centuries
• THE GOLDEN RATIO (Fibonacci Sequence)

  1,1,2,3,5,8,13,21,34,55,89,144,…..
• Fibonacci helps for leveling, positioning focal point, objects moving foreground to background
• THE RULE OF THIRDS

  involves mentally dividing up your image using 2 horizontal lines and 2 vertical lines. You then position the important elements in your scene along those lines, or at the points where they meet.
• THE RULE OF THIRDS

  The idea is that an off-centre composition is more pleasing to the eye and looks more natural than one where the subject is placed right in the middle of the frame. It also encourages you to make creative use of negative space, the empty areas around your subject.
• GOLDEN PROPORTIONS

  1. Rule of Thirds
  2. Golden Section
  3. Golden Triangles
  4. Spiral Section
  5. Golden Spiral
  6. Harmonious Traingles
• A sense of balance is innate
• pictorial balance

  we always assume a center vertical axis and usually expect to see some kind of equal weight distribution on either side
• BALANCE

  some equal distribution of visual weight—is a universal aim of composition.
• Using Imbalance to Create Tension
• The predominance of balance in art and design does not mean there is no place for purposeful imbalance
• SYMMETRICAL BALANCE / BILATERAL SYMMETRY

  shapes are repeated in the same positions on either side of a vertical axis.
• One side, in effect, becomes the mirror image of the other side.
• Symmetrical balance seems to have a basic appeal for us that can be ascribed to the awareness of our bodies’ essential symmetry.
• asymmetrical balance

  achieved with dissimilar objects that have equal visual weight or equal eye attraction.
• Value Asymmetrical balance

  • based on equal eye attraction—dissimilar objects are equally interesting to the eye. One element that attracts our attention is value difference, a contrast of light and dark
• 3.CRYSTALLOGRAPHIC BALANCE

  There is no beginning, no end, and no focal point—unless, indeed, the whole quilt is the focal point.
• Radial Balance

  Visual elements are arranged around a central point in the composition, like the spokes on a bicycle wheel.
• Radial Balance

  prevalent in human designs such as car wheels, architectural domes or windows, clocks, and compasses.
• Rhythmic structures in visual art and design are often described (as they have been here) in terms borrowed from music vocabulary
• When a visual experience actually stimulates one of our other senses, the effect is called kinesthetic empathy.
• ELEMENT

  the visual tools that the artist uses to create a composition. These are line, shape, color, value, form, texture, and space.