Elements of Art and Design. TEXTURE

Elements of Art and Design

TEXTURE

1 Look at the example of artwork Mona Hatoum  Prayer Mat. Did the artist use tactile or visual texture? How would you describe the artwork's texture? 

2 Look at the close-up of  Mona Hatoum’s Prayer Mat. How would you describe the artwork's texture now? What feelings does this artwork create? Take 2-3 minutes to note down your ideas on the meaning of the artwork based on its texture.

3 Look  at the example of  Constantin Brancusi's artwork Bird in Space. Did the artist use tactile or visual texture? How would you describe the artwork's texture?  What feelings does this artwork create? Take 2-3 minutes to note down your ideas on the meaning of the artwork based on its texture.

3 Look at Janet Fish's  pastel on sandpaper drawing Oranges. Notice how the artist used pastels to create visual textures. Open the image using Adobe Photoshop and use different colours to circle the areas where the artist combined different kinds of visual texture:

- use red to find 3 areas of shiny-rough texture

- use green to find 3 areas of shiny-smooth texture

-use yellow to find 1 area of matte-smooth texture

- use blue to find 1 area of matte-rough texture

Compare your findings with other students. Can you find more areas where the artist combined different textures?

4 Choose one of Janet Fish's painting (given below) to comment on the use of visual textures and combination of textures in artwork. (Untitled (Two packages of Pears); Plantains in a Box; Smucker's Jelly) 

5 How can designers use textures in their work? Where can you find examples of textures in graphic  design? Where else can textures be used? Follow the link and study the example of textures used in packaging design. What kind of packaging did the designer create? Why did he choose to use the textures? What effect did it create?

6 Artists can invent textures. For example, Max Ernst used three unusual techniques to create his paintins: frottage, grattage, and decalcomania.

Frottage is a method of placing a freshly painted canvas side-up over a raised texture and scraping the surface of the paint. Some paint remains and creates a pattern; this pattern is the image of the texture below.

Max Ernst.  The Entire City. 1934. Oil on paper laid on canvas

Grattage  is the technique of scratching into wet paint with sharp tools (for example, forks, razors, and combs) to create different textures.

Max Ernst.  Forest and Dove. 1927.  Oil on canvas

Decalcomania  is the technique of creating texture patterns by pulling apart two canvas surfaces between which paint has been placed.

Max Ernst.  The Eye of Silence.  1943-44.  Oil on canvas

How would you describe the texture of the paintings? What feelings do the paintings create? Take 2-3 minutes to note down your ideas on the meaning of the paintings based on their texture.

7 OVER TO YOU. a) Find examples of  different textures combined in artwork (for example shiny-rough and matte-rough textures). b) find two inspirational examples of using texture in packaging (product packaging), c) create your own product packaging for the product of your choice using texture, explain your choice of texture and the effect you want this texture to create, d) try  ONE of the  three unusual techniques: frottage, grattage, and decalcomania in your artwork OR find an inspirational example of the paintings created using one of the three techniques.

Colours and Shapes review

Ефіл 1 Work individually. Follow the link  and complete online task. Check how well you know colours and shapes by choosing shapes of particular colour. Get ready to share your score, discuss your results and comment on the difficulties you faced in the task.

Task 2. Work individually. Follow the link and complete online task. Check how well you know different geometric shapes. Get ready to share your score, discuss your results and comment on the difficulties you faced in the task.

Task 3. Work individually. Look at the picture. Note the location of different objects. Study the vocabulary to describe the placement of elements in the picture. Describe the picture to the class.

IMPORTANT TO REMEMBER!

1. Talk in sentences – don’t produce lists of items you can see (use Present Continuous).

2. Organize your description – don’t describe the same thing more than once

3. Start with a general idea of the subject of the picture before going into details

4. Give reasons (related to the picture) for your ideas.

5. Talk about the situation as well as the physical things you can see in the picture.

6. Give some personal reaction to the picture

7. Listen quietly when your partner describes his/her photo – don’t give help or comment until they finish their speech.

PICTURE DIRRECTIONS

1. ‘In the top left corner …’

2. ‘In the top right corner…’

3. ‘In the bottom right corner…’

4. ‘In the bottom left corner…’

5. ‘In the middle …’

6. ‘In the foreground…’

7. ‘In the background…’

8. ‘in the middle on the right…’

Task 4 Work in individually. Look at the painting by abstract artist Reggie Laurent. Note down the following information:

·       types of lines the artist uses;

·       the colour of lines;

·       location of lines;

·       effect these lines create;

·       types of  shapes the artist used (organic or geometric);

·       location of shapes;

·       colours of shapes;

·       effect the use of shapes create;

·       your impressions of the picture;

Get ready to describe the picture to the classroom. Use phrases from the Vocabulary to describe location and placement list  to describe the location of shapes and lines in the picture.

Task 5 

Work in pairs. Look at the two paintings. Can you spot 5 differences between them? Note down all the differences between the pictures that you can find in 5 minutes. Compare your list with other groups. The group that found all the differences wins. 

To compare the pictures use the structures:

In the left-hand picture we can see…., but in the right-hand picture…

In the left-hand pictures the colour of... is, while in the right-hand picture it is….

Task 6

Work in pairs: Student A and Student B. Student A looks at the picture following the link. Student B goes to the link and follows the instructions. Student A will describe the picture and Student B will draw it in the exercise book following the description. Then in PART 2 of the task the roles will change.

Graphic Design History. AMERICAN WOOD TYPE POSTERS 1820-1880

AMERICAN WOOD TYPE POSTERS

1820-1880

I Look at the poster below. It is an example of a wood-type poster. Why do you think the posters had such a name? Look at the poster closely. What did the designer do to make the initial letters important words stand out and catch our attention? How would you describe the style and spacing of the letters in the phrase Maryland Day! ?

II Study the active vocabulary and focus on Ukrainian equivalents of English words.

 intricately хитро

woven сплетений

solution рішення

tool інструмент

impact впливати

bear with me послухайте мене

illuminated ілюстрований

manuscript рукопис

hand-drawn рукописний

monk монах

scribe переписувач

labourintensive трудомісткий

movable type рухомий набір літер

printing press друкарський верстат

mold відливати у форму

slug блок металу

ink чорнило

type шрифт

surface поверхня

take apart розбирати на частини

limitation обмеження

headline заголовок

break apart розбивати

fortunately на щастя

wood деревина

carve вирізати

emulate наслідувати

elaborate детально розроблений

font шрифт (за розміром та іншими характеристиками)

rely покладатися

fanciful фантастичний

typeface шрифт

dingbat графічне маркування текстового блоку

mashup гібрид

chaotic хаотичний

 human touch   людське тепло

clinical відсторонений

typography типографія

assume припускати

 replace заміняти

letterpress printing типографський друк

incredibly неймовірно

excellence досконалість

workshop майстерня

offset printing офсетний друк

limited edition book книга з обмеженим накладом

wedding invitation запрошення на весілля

yearn  тужити

III Vocabulary focus. Study the words and  word combinations, check flashcards, practise translation, spelling. Take a  test. Play matching vocabulary game (match words to their translations to make cards disappear)  and save the planet from asteroids by typing in correct translation of the words.

  

IV Watch the video and fill in the gaps with the words from the list. There are some words you don’t need to use.

Workshops; page; pressed; today; technology; printing techniques; headline; excellence; letter; individually; increase; schools; century; printer; emulate; books; designers; changed; hand-drawn; handmade; digit; link; combined; elaborate; limited edition; carve; offset; yearn; break apart; limitation; warmer; birth; letterpress printing; allowed; organic; fanciful; promote; assume; taken apart; technical; invitations; technician; metal; printing; movable type; complex; styles; chaotic; monks; small; needed; process; digitally; things; handmade; presume; accomplished; solution; wood type; true; individual; processes; energy; copies; advertising; books; variety; old; time; paper; images; economical; intricately; designing; varied; ink; wood; introduction; multiple; surface; produce; sell; later; posters 

Design and 1)______ are always 2)______ woven together. New 3)______   _______and tools change the way 4)______ work, and this leads to new 5)______ and solutions. Take the Macintosh for example. The 6)______ of this tool in the 1980s not only 7)______ how designers worked, but impacted the look of the 8)______ we designed. Now, this gets a little 9)______, so bear with me. For centuries 10)______ and illuminated manuscripts were 11)______  typically by 12)______ or scribes. If you wanted 13)______ copies, that monk needed to hand draw each one 14)______. This took a long 15)______ and was very labour intensive. In 1450 Johannes Gutenberg invented the 16)______   ______ printing press. This 17)______ began with 18)______ letters molded from metal into slugs. They were 19)______ to create paragraphs, 20)______ was applied to the metal type and 21)______ was pressed on to the 22)______. This process 23)______ for multiple copies to be made from the same metal type. When the 24)______ were completed the type was 25)______  ______ and recombined into another 26)______ or paragraph. By the 19th 27)______, and again due to the Industrial Revolution and 28)______ of products, there was a large need for 29)______ and promotion. A manufacturer could 30)______ 5000 cups, but then needed to 31)______ them. The 32)______ type process worked well on 33)______ and posters with small type, but the individual 34)______ forms made of metal had a size 35)______. When it was attempted to make large 36)______ size version that metal forms would 37)______  _______. The 38)______ was to make posters only with 39)______ type or find a new way to make big letter forms for 40)______. Fortunately an American 41)______ Darius Wells began making letter forms out of 42)______. A printer could 43)______ these letter forms as large as they 44)______. This answered the call for big type to 45)______ events. This was the 46)______ of the American wood type poster. At first the printers of these posters tried to 47)______ the look and feel of the older metal type designs with 48)______ ornaments and a 49)______ of fonts. This was 50)______ by mixing large 51)______   ______  with smaller metal type. It was also very difficult to print 52)______. So printer relied on 53)______ typefaces and multiple rules and dingbats to create 54)______. As you might expect this mashup of 55)______ created a 56)______ and at times 57)______ design. The 58)______ quality gave a sense of the human touch, which feels 59)______ and less clinical than some of the typography we use 60)______. It’s easy to 61)______ that a new technology replaces the 62)______ one. But like radio before television that’s not 63)______. Today 64)______    _______  with wood type is incredibly popular. Companies such as Hatch Show Print in Nashville are looked at for design 65)______. And many 66)______ have built their own letterpress 67)______. Wood type and letterpress are usually more 68)______ than 69)______ printing when making smaller quantities. Experimental work, 70)______   _______ books, even wedding 71)______ are perfect for the letterpress process. Over the last thirty years as design became more and more 72)______ based many people 73)______ for the 74)______ and 75)______ and return to the printing technology of the 19th century creating again wood type 76)______.

V Watch the video again and answer the questions.

1 What is the connection between design and technology? What examples of technology affecting the work of designers can you give?

2 Why for many centuries were books difficult to create? What techniques were used to create and illustrate books? Could such books be mass produced?

3 How did the invention of the printing press change the production of books?

4 What was the new printing technique? What did it use and possibilities did it give?

5 What problems did type size present for printers in the 19^th century?

6 How was the problem of type size limitation solved in the 19^th century?

7 What id American wood type posters look like? How did they emulate handwritten manuscripts?

8 Why did people want to have that chaotic design crated by the combination of different printing techniques?

9 Is letterpress printing still popular today?

10 When is letterpress printing better than offset printing today?

VIII OVER TO YOU. A) Find a modern example of letterpress printing. What characteristics of wood type printing can you find in this modern poster? Why do you think the use of wood type printing was successful or was not successful for this product?

B) Study the examples of the wood type fonts below (some of them were created later than 1880, but still use the same principles). Which (if any) would you like to use in your own designs? Think of a word in English that you find inspirational or important and that has more than 4 letters and could be printed using one of the wood type fonts given in the example. You can create this word yourself, i.e. draw it using the fonts as example or create a collage of available examples of individual letters. (For example the word Columbian in the last picture).

Graphic Design History. VICTORIAN ADVERTISING 1830-1900

Graphic Design History

 VICTORIAN ADVERTISING  1830-1900

I Look at the images below. What kind of artwork are they (if any): paintings, sculptures, etc.? What do you see in these images? What time period do they belong to?

II Study the active vocabulary and focus on Ukrainian equivalents of English words.

foundations основи

decade десятиліття

archive архів

care турбуватися

vocabulary запас

store зберігати

smart витончений

varied різноманітний

toolbox набір інструментів

Darwinian пов'язаний з еволюцією

over time з часом

reflect відбивати

solid грунтовний

highlight основний момент

inspirational натхненний

appreciation оцінка

spark розпалювати

curiosity цікавість

driving force рушійна сила

upside down догори ногами

agricultural сільськогосподарський

Industrial Revolution промислова революція

custom sewn зшитий на замовлення

handmade ручної роботи

tea pot чайник

mass manufacturing масове виробництво

exact duplicate точний дублікат

available доступний

huge величезний

quantity кількість

 competition   конкуренція

manufacturer виробник

 genesis  походження

compete конкурувати

posterплакат

placard афіша

ad реклама

convince переконувати

fine витончений

printing друк

 restraint стриманість

conduct поведінка

elaborate детально розроблений

ornamentation орнамент

reinforce підкріплювати

strength сила

nostalgia ностальгія

goodness доброчесність

sentimental сентиментальний

ornate пишно оздоблений

refined вишуканий

upper-class який належить до вищого класу суспільства

value цінність

air  атмосфера

poverty бідність

disease хвороба

old-fashioned старомодний

naïve наївний

embrace приймати

in the midst посеред

rapid швидкий

affect впливати

digital цифровий

III Vocabulary focus. Study the words and  word combinations, check flashcards, practise translation, spelling. Take a  test. Play matching vocabulary game (match words to their translations to make cards disappear)  and save the planet from asteroids by typing in correct translation of the words.

IV Watch the video and fill in the gaps with the words from the list. There are some words you don’t need to use.

reflects; designers; foundation; influence; typography; design; smarter; on time; history; appreciation; past; curiosity; created; tools; visual vocabulary; examples; come; collection; history; interested; archives; graphic; over time; varied; images; memory; calligraphy; designer; dare; period; designing; welcome; questions; care

I’m Sean Adams and I’d like to 1)_______ you to the Foundations of Graphic Design History. I’ve been studying and teaching 2)_______ design history for three decades and I’ve helped build and manage the largest 3)_______ of graphic design history in the world, the AIGA historical 4)_______.

One of the first 5)_______ you might ask is: “Why should I 6)_______ about graphic design history? It’s the 7)_______”. And I would answer that one of the best 8)_______ to be a great 9)_______ is to have a wide 10)____   ___. And 11)_______ gives us that. Having a visual library of 12)_______ stored in your 13)_______ gives you a 14)_______ and more 15)_______ toolbox. The other point is that 16)_______ is not Darwinian that is it doesn’t get better 17)____  ___. Design simply 18)_______ the culture and the 19)_______ of time in which it was 20)_______. This course is created to provide a solid 21)_______ of the highlights in our graphic design history. I’m not interested in talking about 22)_______ like your third grade history teacher. I’m more 23)_______ in why something looks the way it does and what was happening to 24)_______ that whether it’s a unique way of using contrast or an unexpected approach with 25)_______. The 26)_______ we’ll explore will always be inspirational. I’m sure you’ll finish with more 27)_______ for some of the great 28)_______ in the past and it will hopefully spark your 29)_______ to dig deeper. Welcome to the Foundations of Graphic Design History.

V Watch the video again and answer the questions.

1 What does the course focus on? Why is this knowledge important for modern designers?

2 How does design change over time? Does it evolve in a Darwinian sense of the word?

3 What does design usually reflect?

4 What is the focus of design history and how is it different from history classes at school?

5 What images are used in the video? Note own the names of the artists and the titles of the works. What periods in design history do these works belong to? What works do you know or have you seen before?

VI Watch the video and choose the correct option to complete the sentences.

VICTORIAN ADVERTISING

1830-1900

Just like today technological/technical/technology change was a drawing/diving/driving force in the mid to late 19th century. And like today/yesterday/the other day people’s lives were turned inside up/upside down/upside out as new inventions/interventions/inventors changed the way they lived and corked/worked/locked. It’s this rise of a society/social/societies that was more industrial-based than agricultural-based that driver/drove/dove much of the way Victorian design/designer/decision looked. Imagine life before the Industrial Revolt/Revolution/Revolve. Most people made their own clothes/cloth/clothed or they were custom sewn for them, almost every iris/item/stem in their house was making/handmade/handed. Their tea pots were never identical/identity/identify to the next door. As new matching/regiments/machines and mass manufacturing/manufactured/fractured began to make exact duplicates/implicated/implication of items that were suddenly available in huge quality/quarrel/quantities, this all changed. Now people were able to choice/choose/lose between different teapots, and their shirts/skirt/shortage were available in different coloured/colourful/colours. This mass production created competition/petition/compete. So now the fractions/facts/manufacturers were thinking: “I need people tried/buy/tie my teapot rather than the teapots from a company/campaign/companion down the street. But how can I make that happy/happen/happening?” This is the genetics/genesis/genes of modern advertising/fantasizing/advising and design. In order to compete/complete/conditions manufacturers turned to plaster/posters/roosters, placards, and ads to contain/convict/convince consumers to use their products. What could once be a simple note/notions/nothing on a wall now needed to be notion/noticed/enticed. At the same time new machines were invented/intervened/intertwined that could handle finer printer/painter/printing. So suddenly there were greater/aggregate/aggravated possibilities for creator/creativity/nativity in advertising. Victorian advertising reflexes/reflects/perplexes these changes and the blues/values/valuable of that period such as a clear class/gas/mass structure, sexual restraint, and a strongly/tree/strict code of conduct/predict/abduct. Britain was at the height of its Pier/Empire/Emperor with colonies around the robe/probe/globe. Elaborate ornamentation and texting/mixing/fixing of styles from other cultures/vultures/future reinforced the British Empire’s colonial strong/strengths/wrath. These forms were paired with images/imagine/imagination that reflected idealized nationalize/nostalgia/nostalgic and moral goddess/goodness/finesse. This Coca-Cola pad/ad/fads is a great example of a sensitive/sentimental/sensual image representing the goodness of a Victorian wonders/woman/women. And the ornate calligraphic/typography/types representing the refined and upper-class values of Coca-Cola. The advertising had an air of optimize/optimism/pessimist. New machines and industrialize/industries/industrial were transforming/transformed/deformed the world and making wondering/wandered/wonderful products. It was a time of passively/massive/massively technological innovation/inventor/inventions. Science and industry were going to probe/solve/salvation all the problems/stems/problematic of poverty, hungry/hunger/hunky, and disease. We may look at the Victorians and think they’re old days/old-fashioned/in style and naïve, but the design phrases/embraces/grazes the new ideas of the time. They were in the midst of trepidation/rapid/rapidly change which affected the ways they lived/left/leaves and worked. There are some barrel/parallels/alleys to today, as it can seem that new digital/digitally/digitize technologies appear before we’ve even learned how to use the last ones.

  

VII Watch the video again and answer the questions.

1 What is the name of the period? What are the time limits of the period?

2 What events changed the lives of people in the 19^th century?

3 What kind of products could people get before mass production?

4How did it change with the development of industry?

5 What did manufacturers do to find new clients? How did it influence the development of graphic design?

6 What are the characteristics of Victorian advertisement? What values does it reflect?

7 What does the example of Coca-Cola ad illustrate? What does it show and what is the meaning of the image?

8 Did people in the 19^th century welcome change and believe that science and technology van make their lives better? Why or why not?

9 How did changes in printing techniques influence the history of graphic design?

10 In what way is the life of 19^th century people similar to modern life and development of technology?

VIII OVER TO YOU.

 A) Find an ad from the time period described in the video (advertisement should be in English). Get ready to describe what the ad shows and what values or traditions of the 19^th century it reflects. Show your ad to other students and discuss what you see and what images mean.

B)  Think of a product that did not exist in the 19^th century (e.g. a digital camera). Create a Victorian style poster ad for this product (you can draw, paint, use Photoshop, etc.). Share your poster with other students. Comment on the characteristic features of a Victorian advertisement that other students included in their poster.