Art and Design A comprehensive guide for creative artists - Aaltodoc

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Block letters of alphabet constructed by using a square grid That is to say, the attained squares must be accurate and precise. Wrong lines (square grid) will lead to futile letter constructions. We can use the categorisation set out in the table below to make a quick review of the number of squares needed to construct each letter of alphabet on a square grid. Number of squares Categories of letters 3×5 4×5 or 5×5 and 1×5 However, after acquiring enough skills of drawing each block letter, the learner may also be encouraged to experiment further by doubling the number of squares to draw block letters in different ways. In Ryan's (2001, 1) introduction about Letter Perfect: “As a basic building material, the printed letter is comprised of assembled shapes and forms ...” From this we can understand that the learner can also make block letters of alphabet and numbers with the help of general shapes. For that reason, observe each letter carefully before you draw to establish exactly the kind of shape or shapes needed. How shapes influence letter construction During the process of constructing block letters, the series of steps taken sometimes necessitate drawing general shapes such as squares, rectangles, triangles and circles. For instance, circles can be used to derive corners and curves need for letters that indicate round corners. As is evident, squares are mainly used for setting up a 'square grid' in which desired block letters can be constructed. By analysis, basic shapes can quickly be obtained from a well-constructed square grid in right arithmetical (square) values of 3×5 or 1×5 and 5×5. Here is a table discussing ways in which general shapes can cause transformations, which reveal actual block letters: General shapes Types of block letters Block letters that lean on such a shape Triangles have got a 'V' component. They are: 88 89 Circles Square Rectangle Not very many letters can be obtained by using this shape. A circle is mostly used to draw arcs or curves as well as corner parts of: S, C, D, J, G, O, Q, R, U, P. It is the major grid creator. This general shape does not represent a specific letter apart from providing the necessary assistance of constructing accurate block letters. By counting from a square grid, a rectangle comes out of 3×5 squares. This shape commands a wider influence on letters such as Nearly all the letters listed here are supported by four straight sides and four full right angles in a vertical way. After learning about general shapes and how they act to form block letters with the guidance provided by a square grid. We can now make a brief reassessment of wide and narrow types of letters using the table here below: Wide letters and Narrow letters and
Lowercase The lowercase alphabets are constructed in a smaller form as compared to upper cases. In Swanson's (2000, 105) typography of lower and uppercase: “Words are perceived by their specific word-shape outline, which is unique for lowercase ... one researcher found that more reading errors were made in reading lowercase words than words set in all caps, indicating that all caps words are indeed read letter by letter, while lowercase words are not.” It is absolutely important for the learner to first of all look and judge the different ways—lowercase letters can fit on a well composed design or sentences before putting then to any final use. Let us use the table below to make a clear analysis of the stylistic representation of lowercase (type) and how they appear with straight and round strokes: Round and/or with a stroke Round, straight strokes above and below Straight, round and open strokes Upright, straight with a single stroke Straight with slanting or oblique strokes Use a sketch book and draw each letter carefully. Pay attention to the extremely useful strokes (above and below on specific letters) be mindful of their individual shapes as well as the different ways each letter can cause an impact on a word or sentences. You can make your own grid of squares. Layouts This is an aspect of design that deals with arrangements of text or pictures on a set out page. Layouts are characterised by constant changes, they can be vertical, horizontal or radial. A reasonable conclusion of a functional layout can be reached after considering expected out comes of the final design, in addition to how the absolute layout shall be displayed. The effectiveness of a layout can be determined by the feasibility of its implementation to users along with their ability to follow a logical path of identifying the most important in a design created. Lidwell et al. (2010, 198) assert. “In fact, complex information requires the simplest presentation possible, so that the focus is on the information rather than the way it is presented.” That is to say, a lay out page persistently goes through a process of arranging text, images or both for an optimal balance. This course of action is matched with various elements and principles of design. A careful look at newspaper layouts suggests a surprising display of well laid out text, usually accompanied by illustrations, both in different sizes and colours on different page displays. This causes ordinary readers to wonder how individual parts were delightfully co-ordinated to fit proportionally on each page without influences of misguided judgement. Let us assume that the type of layout you plan is meant for a poster; vary the words or text accordingly and probably put emphasis to the most important—decide on what should stand out most. In Lidwell et al.'s (2010, 86) view, “the strongest exposure effects are seen with photographs, meaningful words, names and shapes and the smallest effects are seen with icons, people and auditory stimuli.” Layout C 90 91 Layout A Layout B A: Symmetrical B: Asymmetrical C: Radial
Page 1 and 2: and Design Art and deign Art and de
Page 3 and 4: Preface The goals of this book 1. T
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: m) In conclusion, on any outstandin
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
Page 55 and 56: Michaels (2010) points out some “
Page 57 and 58: The ultimate goal of designing a bo
Page 59 and 60: A raised surface b) Intaglio printi
Page 61 and 62: d. Outdoor signs are the major visu
Page 63 and 64: A collage artwork Materials: Dry le
Page 65 and 66: Apart from that, excess glue can be
Page 67 and 68: A small section of a floor surface,
Page 69 and 70: A pendant of a necklace Materials:
Page 71 and 72: f. Needle/long nose pliers uses it'
Page 73 and 74: The aggressive conduct of these war
Page 75 and 76: 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
Page 81 and 82: Tod (1977, 172) laments, “Cloth m
Page 83 and 84: Exercise 1. By using found material
Page 85 and 86: To simplify the discussion, let us
Page 87 and 88: Here is an itemised set of methods
Page 89 and 90: B A A: An already made tie-die fabr
Page 91 and 92: Start by preparing a separate scree
Page 93 and 94: CHAPTER ELEVEN They made “clay re
Page 95 and 96: Examples of inverse relief can be f
Page 97 and 98:
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
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“Welding equipment is largely use
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. 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
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Crafts other than those detailed ab
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2. In an area of 25cm by 30cm, desi
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Q quill feather 68 R raffia 148 red
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Mills, John W (1990). The encyclopa
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