I Learn From The Best

8/13/2019 I Learn From The Best

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Nam lobortis felis sed est commodo posuere.

Vestibulum faucibus nunc nec turpis. Donec consectetuer luctus nunc. Ut ac enim et nunc

pharetra ullamcorper. Donec velit mi, vestibulum dictum, lacinia id, adipiscing et, erat. Nam

pulvinar, urna in gravida venenatis, tellus ligula pellentesque magna, sed tincidunt dui dolor

sit amet turpis.

[Date and Time]

By Chloe Aalsburg

I Learn romThe est


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Chloe Aalsburg

IDES 142:Design Theory Studio

Spring 2013


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Table of Contents

Chapter One: Line (pgs 1-7)

Chapter Two: Shape & Form (pgs 8-13)

Chapter Three: Texture(pgs 14-19)

Chapter Four: Color (pgs 20-28)

Chapter Five: Space (pgs 29-33)

Chapter Six: Unity & Variety (pgs 34-37)

Chapter Seven: Emphasis, Balance, &Rhythm (pgs 38-42)

Chapter Eight: Scale & Proportion (pgs 43-46)


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Preface

Through this design journal I was ableto learn from some of the best designers inour time. These famous designers helpedme understand the elements and

principles, along with how to properly usethem. The inspiration they have providedto me has proved crucial in my studies.


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[Date and Time]

[Street Address]

Taught By Frank Lloyd Wright

LINE


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Line is one of the most important elements of design.

Line can be used in many ways; it can effect emotions, which depends mostly on the viewer.

Frank Lloyd Wright

Types of line

Diagonal

Vertical

Zig Zag

Curvilinear Horizontal


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Diagonal lines are slanted.

Diagonal lines are often seen as exciting, and represent movement and activity.

You can see the diagonal lines in the interior of Frank Lloyd Wrights

Taliesin West. Many are found in the ceiling, as well as in the

furniture.

Frank Lloyd Wright

Diagonal


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Zig Zag lines move back and forth at angles.

Zig Zag lines appear to be exciting and represent movement.

You can see this in the structure of the Spire by Frank Lloyd Wright.

Frank Lloyd Wright

Zig Zag


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Curvilinear lines are curved.

Curvilinear lines seem graceful, natural, and feminine.

You can see the curvilinear lines here, in the Guggenheim (New York),

designed by Frank Lloyd Wright.

Frank Lloyd Wright

Curvilinear


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Horizontal lines move from side to side.

Horizontal lines represent rest, repose, and a sense of tranquility.

Horizontal lines can be found in the architecture of Wrights

Fallingwater.

Frank Lloyd Wright

Horizontal


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[Date and Time]

[Street Address]

Taught By Charles Ray Eames

h pe& or


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Shape and form are extremely important i n d es i gn ,Espec ia lly furn iture d es i gn .

Form i s shape w ith volume .

Charles Ray Eames

hats the difference and why isit important

Shape

Form


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Shape

Natural shapes and forms are anyth ing found i nnature .

An example o f th i s i s a l e af .

Charles Ray Eames

Form

Natural


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An abstract shap e i s when a natural shap e hasb e en alt er ed .

Charles Ray Eames

The Eames la cha i s e i s an example o f an abstract form .

Abstract

Form

Shape


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Non -obj ect iv e shap es do not or i g i nate i n anyrecogn izab l e shap e or obj ect .

Charles Ray Eames

Non-objective

Examples of non-object ive forms are abstract sculptur es , such as theplywood one above , d es i gned by Charles and ray Eames i n 1 943 .


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[Date and Time]

[Street Address]

Taught By Antonio Gaudi

Texture


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Texture gives dimension to through touch .Texture can affect the viewers in many ways, making a space feel warm or cold.

Antonio Gaudi

Types of texture

Visual Tactile

Structural Symbolic


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Antonio Gaudi

Visual

Visual texture is the way somethinglooks without reference to touch.

An example of this is pattern.


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Antonio Gaudi

Tactile

Tacti le texture is the way somethingfeels .Examples of this are the roof of the Casa Batll and Gaudis

mosaics.


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Antonio Gaudi

Structural

A constructed texture is created usingpaint and other mediums.

An example of this is a La Sagrada Familia.


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Antonio Gaudi

SymbolicTexture that makes the viewer feelsomething emotional ly.

Rough textures often convey warmth l ike these housesat Park Gel l .


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[Date and Time]

[Street Address]

Taught By Elsie de Wolfe

Color


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ValueHow light or dark a color is.

Elsie de Wolfe

Properties of Color

IntensityHow bright or dull a color is.

HueColor in its purest form.

All colors are derived from the threeprimary colors, red, yellow, and blue.Mixing two primary colors togethermakes secondary colors. By mixing

secondary colors, one can maketertiary colors.

The rest of the colors can be made

using variations of tints (addingwhite), shades (adding black), and

tones (adding gray or acomplementary color).


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A combination of colors used to set a mood.Creates guidelines for using color in design.

Elsie de Wolfe

Color Schemes

Neutral Monochromatic

Analogous Complementary

Split-Complementary Triad


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Elsie de Wolfe

Monochromatic

The tints and shades of one coloron the color wheel.Example:

tints and shades of blue


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Elsie de Wolfe

Analogous

Three to five hues next to eachother on the color wheel.Example:

blue, blue-green, and green


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Elsie de Wolfe

Complementary

Two colors that are opposite onthe color wheel.Example:purple and yellow


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Elsie de Wolfe

Split-Complementary

A color and the two colors next toits complementary on the wheel.Example:yellow-green violet and red


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Elsie de Wolfe

Triad

Three colors that are equaldistance apart on the color wheel.Example:red blue and yellow


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Less is more.

Taught By Ludwig Mies van der Rohe

p ce


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Space is i n f i n i te .It is not applied or created by the designer, it just exists.

Ludwig Mies van der Rohe

Types of space

Pictoral Illusionistic

Actual


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Pictoral

Re la ted to a f la t s u r face.

Such as a sketch of a building.


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Actual

I n t h ree d imens io na l wo r ks space i s tang ib le .

An interior is an example of actual space.


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In order to have unity something must besimilar. Variety means that they contrast.

Eero Saarinen

Unity vs. variety

Unity

Variety


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Eero Saarinen

Unity

Harmony or agreement.

Similar shapes and colors create unity.


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Eero Saarinen

Variety

Distinct and nonconformist.

Although all of Saarinens works are similar in some ways, they are

all very unique.


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[Date and Time]

[Street Address]

TAUGHT BY FRANK GEHRY

EMPHASIS,BALANCE,

& RHYTHM


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BALANCE IS THE WAY IN WHICH ELEMENTS ARE USED ,RHYTHM IS HOW IT AFFECTS THE MOVEMENT OF THE WORK ,

AND EMPHASIS OCCURS WHEN THERE IS CONTRAST

FRANK GEHRY

THE RELATIONSHIP BETWEEN BALANCE,EMPHASIS, &RHYTHM

EMPHASISBALANCE RHYTHM


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FRANK GEHRY

EMPHASIS

WHEN ONE PART OF A WORK IS DOMINANTAND CATCHES THE EYE FIRST

IN THIS EXAMPLE THE EMPHASIS IS ON THE TEXTURE.


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FRANK GEHRY

BALANCE

HOW THE ELEMENTS OF A PIECE AREARRANGED

BALANCE MAY BE SYMMETRICAL,ASYMETRICAL,OR RADIAL.

ASYMETRICASYMETRICAL

RADIAL


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FRANK GEHRY

RHYTHM

CREATES MOVEMENT USING DIFFERENTELEMENTS OF ART

THE TEXTURE AND SHAPES OF THESE BUILDINGS CREATES RHYTHM BUT

DRAWING THE EYE UP.


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[Date and Time]

[Street Address]

Taught By Philippe Starck

Scale &Proportion

Tomorrowwill beless.


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It represents aesthetically pleasing proportions withina piece. The actual ratio is 1:1.618

Philippe Starck

What is thegolden mean?


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Philippe Starck

Scale

How the size of an element relates toits actual physical size.

The bike is to scale, it is the proper size for an adult.


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Proportion

Describes the size of an element inrelation to other elements.

The proportion of the black sofas width to the white

sofas width is 2:1.

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