• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
Foundations Of Design - Composition Lecture1

Foundations Of Design - Composition Lecture1



Composition - 1

Composition - 1

This presentation accompanies the "Foundations Of Design" course I teach at the HIT - see also http://2Dfor3D.com



Total Views
Views on SlideShare
Embed Views



12 Embeds 151

http://www.2dfor3d.com 100
http://portfoliow.blogspot.com 21
http://www.slideshare.net 12
http://portfoliow.blogspot.co.uk 7
http://portfoliow.blogspot.ru 2
http://portfoliow.blogspot.se 2
http://portfoliow.blogspot.ch 2
http://portfoliow.blogspot.gr 1
http://portfoliow.blogspot.fr 1
http://portfoliow.blogspot.com.au 1
http://portfoliow.blogspot.kr 1
http://www.portfoliow.blogspot.com.br 1


Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
Post Comment
Edit your comment

    Foundations Of Design - Composition Lecture1 Foundations Of Design - Composition Lecture1 Presentation Transcript

    • Composition Foundations of Design 2007-08 Semester 1
    • Format • The first decision we are faced with in any creation is the choice of our format. • Since the Renaissance formats often have a proportion known as The Golden Ratio: • The Golden Ratio can also be calculated as: 1.618….
    • Point - •The most basic element of any composition is the point. •The point is a small mark placed in the composition and is not to be confused with the geometric point, it is not a mathematical abstraction. •The point has form and color. This form can be a square, a triangle, a circle, etc. •According to its placement on the plane the point will have different effects. It can be isolated or put in resonance with other points or lines.
    • Line •The line is the product of a force. The force applied on the pencil or on the paint brush by the hand of the artist. •The produced linear forms can be of several types: a straight line, an angular line, or a curved or wave-like line. •The effect produced by a line depends on its orientation: the horizontal line corresponds to the ground on which man rests and moves and has a static effect. The vertical line corresponds to height and to mans aspirations to the heavens.
    • To whom do we owe these observations?
    • Wassily Kandinsky 1866-1944 • Born to a musical family the influence of music on Kandinsky’s art and theories is immense. • Kandinsky studied law and was active as a lawyer up until his early thirties. His orderly, lawyer’s mind is evident in his work as well. • Kandinsky was heavily influenced by Theosophical teachings and believed that the universe is put together from basic building blocks all evolving towards consciousness
    • Kandinsky – the artist • Kandinsky’s art career was ignited by his visit in 1895 to an Impressionist exhibition where he witnessed Monet’s “Haystacks at Giverny” • Kandinsky started his art studies in his thirties and combined his artwork with extensive theoretical writings. • One of the most famous 20th- century artists, he is credited with painting the first modern abstract works. • One of the master teachers at the Bauhaus school in Weimar. Claude Monet - Haystacks at Giverny 1890; Oil on canvas, 60x100cm
    • Kandinsky and the metaphysical in Art Kandinsky - Yellow, Red, Blue 1925; Oil on canvas, 127x200cm • Kandinsky’s greatest contribution to the evolution of Art and Design was his formulation of an approach that maintained that in order for Art to attain a universal significance it must free itself of “decoration” and “rhetoric” and remain a whole unto itself, having significance only as a function of the spiritual quest of it’s creator. • Kandinsky believed art to be an autonomous language governed by it’s own set of universal rules – similar in many ways to music.
    • Point and line to plane (1926) • Kandinsky’s theoretical analysis of the geometrical elements that compose every painting, are the basis of our discussion of composition. • The novelty of Kandinsky’s approach is that he bases his research on the point of view and inner effect that these elements have on the observer who looks at them and lets them act on his senses. • Kandinsky believes that the artist is obligated to employ color and form to best create an experience that is in harmony with his inner world.
    • Lets look at some simple line and point black and white compositions…
    • …and now for some more complex compositions
    • Mondrian - Composition with Gray and Light Brown 1918; Oil on canvas, 80x50cm
    • Mondrian - Composition with Red, Yellow and Blue 1921; Oil on canvas, 39x35cm
    • Mondrian - Broadway Boogie Woogie 1943; Oil on canvas, 127x127cm
    • Rothko - Untitled 1949; Oil on canvas
    • Rothko - Orange and Yellow 1956; Oil on canvas
    • Klee- Mural from the Temple of Longing 1922; Water colors on cardboard
    • Klee- Portrait of an Artist 1927; Oil and collage on cardboard, 63x40cm
    • Klee - Scherzo with Thirteen 1922; Water colors and ink on cardboard, 28x36cm
    • Miro - Landscape (The Hare) 1927; Oil on canvas, 51x76cm
    • Miro - Personage 1925; Oil on canvas, 51x37cm
    • Kandinsky - Autumn in Bavaria 1908; Oil on canvas, 45x33cm
    • Kandinsky - Improvisation 7 1910; Oil on canvas, 97x131cm
    • Kandinsky - Composition 4 1911; Oil on canvas, 250x160cm
    • Kandinsky - On White 2 1923; Oil on canvas, 105x98cm
    • Kandinsky - Composition 10 1939; Oil on canvas, 195x130cm
    • Thank You Good Luck…