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This 3 page Class Notes was uploaded by rachellee276 on Friday September 23, 2016. The Class Notes belongs to Art 102 at La Salle University taught by Professor Camommile in Fall 2016. Since its upload, it has received 2 views. For similar materials see Digital Art Studio in Digital Media Arts at La Salle University.
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Date Created: 09/23/16
CH 1: Design Process I. Introduction A. Design Defined ● Design: to plan, to organize ● 2D & 3D human production involves design a) Visual Organization ● Artists plan arrangement of elements to form a visual pattern=visual organization ● Art seeks visual solutions, which is called the design process b) Creative Problem Solving ● Arts c lled creative fields because they can be viewed in so many diff. ways, so many diff. answers ● Independent painters or sculptors usually create their own “problems” w/ no limitations ● The architect or graphic and industrial designer is usually given a problem w/ limitations (students apart of this too) ● All have in common: creative solution desired. ● guidelines (not rules) exist that usually will assist in the creation of successful designs. c) Content and Form ● Content implies the subject matter, story, or information that the artwork seeks to communicate to the viewer (what artists want to say) ● Form is the purely visual aspect, the manipulation of the various elements and principles of design (how they say it) ● Aim of work can be aesthetic, subject matter can be absent and the only “problem” one of creating visual pleasure ● art=a means of visual communication II. Procedures A. Steps in the Process a) Art as Communication ● elements of art can be used in communication (abstract lines, color, and shapes, etc.) ● symbols, pictorial images can be used to suggest a theme ● Art can be combined with words b) The Creative Process ● Ideas encompass both content and form ● Thinking, Looking, and Doing can stimulate the artistic problemsolving process III. Thinking A. Getting Started ● Thinking is a huge part of the artistic process a) Thinking About a Problem ● Start with understanding the problem (a) Precisely what is to be achieved? (What specific visual or intellectual effect is desired?) (b) Are there visual stylistic requirements (illustrative, abstract, nonobjective, and so on)? (c) What physical limitations (size, color, media, and so on) are imposed? (d) When is the solution needed? b) Thinking about the Solution ● think logically of which images or pictures could represent this theme and to list them or sketch them (choose a visual image), 1st step ● How to use the image?, 2nd step and solution c) Thinking about the Audience ● thinking of future viewers may provide an influence, to whom is this visual message addressed? B. Form and Function ● When the relationship between form and content is clear, form follows function. (In this case) form is determined by content and function is a priority IV. Looking A. Sources: Nature ● looking=primary education of any artist a) Source vs. Subject ● The source is a stimulus for an image or idea (ex. A bone can be the source for a work of sculpture) ● The subject is tied to the content of the work or to the artist’s ideas and way of seeing B. Sources: History and Culture a) Visual Training and Retraining ● high art images manage to become commonly known, or vernacular, through frequent reproduction ● Art, natu ernacular images, and doing formal research into new or unfamiliar subjects are places to look V. Doing A. Thinking with Materials ● Doing starts with visual experimentation ● Two points of view— 1. Materials are lifeless until given shape by a creator. 2. Materials by their own potential created their end. VI. Critique A. Constructive Criticism ● The goal of a critique is increased understanding through examination of the project’s successes and shortcomings a) A Model for Critique ● Description: A verbal account of what is there. ● Analysis: A discussion of how things are presented with an emphasis on relationships (for example, “bigger than,” “brighter than,” “to the left of”). ● Interpretation: A sense of the meaning, implication, or effect of the piece.