Art 1600 / Greg Clayton
Below are several ways of describing what we're aiming for.
Formal design is fundamental to all visual expression— it is the grammar, syntax and organizing structure of visual language.
Thus, every artist, designer and visual communicator needs an awareness of formal elements, variations within forms, relationships among forms. We must be aware of the impact evoked within viewers and users by formal conditions. In order to apply and use visual form, we will explore how forms have been motivated in prior designs. We will focus on specific formal conditions, vary selected aspects, and observe the effects. We will explore and experience means applying these formal conditions to stated problems.
In this course, the purpose and principles of God's creation will be stressed as a design norm and the Christian ethic will be promoted as a model for living and serving as a designer in the world community.
In terms of ethics and service, we recognize that design is a means of influencing and bettering the human condition, enriching both experience and awareness.
Demonstrate a working knowledge of visual design and composition principles, terms and practice through successful creative visual designs, through verbal critiques and discussions of form, through quiz content and through written critiques.
Demonstrate an understanding of basic graphic production skills using the mat cutter, utility knife, spray adhesive and presentation of projects.
Demonstrate an understanding of creative process, including graphic and content concept development in response to assigned challenges, and through course quiz and exam content.
The successful 2D Design student will discuss and write a 50-100 word statement identifying and describing contextual connections between his/her creative work and the history of art and design. (ULO3)(ULO7)(ULO8)*
The successful 2D Design student will demonstrate an engagement with their profession by membership in art and/or design organizations, and/or visits to galleries, museums, studios and/or participating in competitions, public exhibits or conference events. (ULO 3, ULO 6)*
*These Student Learning Outcomes (SLOs) are tied to the indicated Undergraduate University Learning Outcomes.
Form
Content
Process
Craft
Source -- nature, art, design, culture, personal
Iteration -- doing and redoing, revision, refinement
Accept
Analyze
Define (see Concept development)
Incubation
Ideation
Selection
Implementation
Evaluation
Let Go
Living with It
Personal strengths & aptitudes within process
Personal roadblock, detours & weaknesses
Graphic Concept
Concept Concept
Response Concept
Impact Concept
Priority Concept
Process Concept
Source Concept (parti)
Function Concept
the Elevator Test
Sketch Development
Thumbnails
Roughs
Comprehensives
Critiques
Descriptive
Analytic
Interpretive
Presentation Issues
Formal vs Informal
Self-explanatory
Clean
Balanced
Labeled/Identified
Secure
Concept Statement
Portfolio
Sketches and Notes
Details and specifications
Backstory and context
Clean Photos: Color, contrast, exposure, focus, skewing, graphic isolation
Artist's Statement
Line
Point
Shape
Pattern
Space, depth, distance, Volume
Motion
Value
Color - hue, value, chroma/saturation, transparency
Varied traits or qualities of each element
Media and process as influence on formal traits
Visual Field
Order, disorder and degrees of order or structure
Balance of graphic weight, of color, of contrast, of movement
Contrast of tone or value, of hue, of chroma, of line, line direction, of texture, of shape...of complexity, of clarity, etc. Stresses and accents
Unity, Dominating forms, dominating traits, dominant or active elements
Harmony -- a unity established by an expressively appropriate balance of similarity and variety.
Emphasis, Graphic Hierarchy, Focal Areas, Graphic Weight
Heightend Contrast: tonal, chromatic, clarity, etc.
Isolation
Heightend human interest: eyes, text, etc.
Directional convergence
Graphic Relief, White Space, Relief Areas
Movement, Motion, Energy, Dynamism
Rhythm, Repetition, Pattern
Eye Path, Lead ins, stops & exits
Scale, Proportion, human scale
Organizing Structure: grid, radial, branching, serpentine, etc.
Nature as Source and Exemplar
Historical and Contempoary Design as Source and Exemplar
- Build a working vocabulary of art, design, and visual communication terminology.
- Know about and explore various design forms, elements, traits of elements and formal relationships.
- Develop skills in handling the design forms while reaching an art production goal that is consistent with the servant and steward ethic.
- Produce the best possible design solution within given limits of time and resources.
- Be able to effectively apply valid design principles to a variety of visual expressions and communication problems.
- Become familiar with the process of design, design analysis, and creative problem-solving.
- Initiate an awareness of artists and designers who are, or were, remarkable for their designs.
- Establish an ability to identify the design problem; discern pertinent project needs and goals by reading project description and by questioning the instructor and active listening during project presentation and discussions.
- Apply visual design principles to concept development and design analysis.
- Communicate clearly your design concepts/goals via concise, written concept statements.
- Select successful concept-driven solutions and apply design principles in projects.
- Be able to justify design choices/solutions relative to client/project’s posed problem and your concept statement.
- Practice and extend creative problem-solving skills by exploring, presenting and evaluating a multiplicity of ideas for each concept.
- Practice and develop illustrative sketching and rapid visualization techniques in development sketches, concept presentations and in-process project discussions/crits.
- Practice and extend ability to think visually, to develop visual concepts and to communicate visual solutions.
- Practice and develop rendering and presentation techniques in design presentations.
- Express understanding of design issues in oral presentations, class discussions and critiques.
- Recognize the relationship between human behavior and designed environment, graphics and objects.
Many of us simply don’t plan our lives in terms of overt, stated objectives. Some of us just keep on searching…asking, seeking and knocking.
Here are seven questions that we will repeatedly ask and explore, directly and indirectly throughout our time together.
- Just what is design…or composition? What traits make a design strong...effective?
- What difference does good design make…really?
- What are the building blocks of visual experience…what are the design elements...what do I make designs with?
- What are the strategies that can be used to organize the parts of a design …what are the design principles?
- Who designs well? Where can I find strong designs?
- How do I go about creating strong designs? What am I doing that gets in the way of my own flow of ideas?
- How can I prepare and present my designs for best impact and clarity?
Greg Clayton
Design Foundations I
Design Foundations II
Senior Seminar
Photography Course
Course Schedule
Course Schedule
Independent Study
© 2019 Greg Clayton/ gclayton@harding.edu