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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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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]
[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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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]
[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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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]
[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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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]
[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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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]
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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Ludwig Mies van der Rohe
Pictoral
Re la ted to a f la t s u r face.
Such as a sketch of a building.
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Ludwig Mies van der Rohe
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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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]
[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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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]
[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.