Art and Design A comprehensive guide for creative artists - Aaltodoc

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© Muyanja Michael (2011). All rights reserved. No part of this publication may be produced or transmitted in any form or by any means. Electronic or mechanical, Including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. The images for this book were produced entirely by the author Request for permission to make copies of any part of the work should be mailed to: muyanjam@yahoo.com 1
Preface The goals of this book 1. To provide a broad and comprehensive introduction to guiding principals and theories of art and design. 2. To present creative approaches of doing art and design in a reader-oriented format. 3. To provide a module of teaching and studying art and design using recycled as well as locally available materials for students of the course. Target category a. Students preparing to qualify for examinations in major professional institutions such as secondary schools, colleges of art and design in respect to the syllabi at hand. b. Professional students taking qualifying examinations of the Uganda National Examinations Board. c. Undergraduate students on degree courses in commercial art and industrial art and design as well as fine art. d. Post-training students on industrial training and school practice. e. Practitioners and qualifying professional students in the areas of full or part-time courses in interior design, fabric printing, graphic design, sculpture, ornaments, drawing, painting, mosaics et cetera. f. Practitioners in the art business, commercial, public and not-for profit sectors of art and design or fine art. Format a. Associated groups of chapters have been assembled into sections with each; ending with a fitting tasks for self-review. b. Mostly, the availed sample questions address social issues of people’s daily lives. c. Easy to use tables have been convened in some sections for a quick review of the most wanted subject matter. d. The book provides a brief review of history of African art. In individual and separate chapters. e. Important resources are listed in references for further reading at the back of this book. f. Enough space has been made available on each side of facing pages for the user to make notes. 2 3 Use • This book can be used as a unit or module textbook, as well as a study text for students working on an independent or personallearning basis. • Also, it can be used as an instruction manual for persons actively associated with art and design fields of study. Comments and suggestions The author welcomes constructive comments and suggestions from readers, artists and institutions about the content and format of this book. Lecturers’ supplement A free lecturers’ supplement is available to those lecturers, teachers and tutors adopting the book for their course text. It may be obtained by writing on college, or institution headed paper to the author or through the publishers.
Page 1: and Design Art and deign Art and de
Page 5 and 6: • Decorating fabrics with more th
Page 7 and 8: CHAPTER ONE Art and design Art and
Page 9 and 10: Several examples of geometric patte
Page 11 and 12: Architecture A basic example of the
Page 13 and 14: Elements of design A closer look at
Page 15 and 16: Inset: halftone dots obtained from
Page 17 and 18: Jung (2004, 139) remarks, “Of cou
Page 19 and 20: Principles of design Principles of
Page 21 and 22: Play. A painting with proposing act
Page 23 and 24: Exercise 1. By associating each ele
Page 25 and 26: d) Charcoal is good and it is an ab
Page 27 and 28: A lakeside Background landscape sho
Page 29 and 30: Vebell et al. (2005, 202) prefer a
Page 31 and 32: A study of a cow. In the profile vi
Page 33 and 34: Scanty waters. Acrylic painting Siz
Page 35 and 36: Liquids for painting The types of l
Page 37 and 38: Although it is sometimes necessary
Page 39 and 40: Trowell (1951, 27) shares a rationa
Page 41 and 42: Well as computers have dominated a
Page 43 and 44: Phillips (2004, 9) reminds us that
Page 45 and 46: m) In conclusion, on any outstandin
Page 47 and 48: Lowercase The lowercase alphabets a
Page 49 and 50: Proportion It can be used to work o
Page 51 and 52: Illustrations can be done as painti
Page 53 and 54:
Logo Trade Marks Label Notice sign
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Michaels (2010) points out some “
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The ultimate goal of designing a bo
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A raised surface b) Intaglio printi
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d. Outdoor signs are the major visu
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A collage artwork Materials: Dry le
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Apart from that, excess glue can be
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A small section of a floor surface,
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A pendant of a necklace Materials:
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f. Needle/long nose pliers uses it'
Page 73 and 74:
The aggressive conduct of these war
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CHAPTER NINE Weaving Weaving is the
Page 77 and 78:
Here we see that through trials and
Page 79 and 80:
. Yarn is for fabrics as straw and
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Tod (1977, 172) laments, “Cloth m
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Exercise 1. By using found material
Page 85 and 86:
To simplify the discussion, let us
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Here is an itemised set of methods
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B A A: An already made tie-die fabr
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Start by preparing a separate scree
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CHAPTER ELEVEN They made “clay re
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Examples of inverse relief can be f
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Sometimes plaster of Paris is used
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Maquette A maquette is a translatio
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Rich(1998, 250) offers a reasonable
Page 103 and 104:
“Welding equipment is largely use
Page 105 and 106:
. Porosity of clay is determined by
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• A pottery artist needs enough e
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owl, a cup. In size and shape it wi
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Along with the left hand and add so
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• Photography can be used to depi
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Explanatory photographs Descriptive
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Here is how: • Film cameras were
Page 119 and 120:
Crafts other than those detailed ab
Page 121 and 122:
2. In an area of 25cm by 30cm, desi
Page 123 and 124:
Q quill feather 68 R raffia 148 red
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Mills, John W (1990). The encyclopa
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