I Learn From The Best

1
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]
By Chloe Aalsburg
2

Chloe Aalsburg

IDES 142:
Design Theory Studio

Spring 2013
3

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)
4

Preface

Through this design journal I was able
to learn from some of the best designers in
our time. These famous designers helped
me understand the elements and
principles, along with how to properly use
them. The inspiration they have provided
to me has proved crucial in my studies.
sit amet turpis.
[Date and Time]
[Street Address]
Taught By Frank Lloyd Wright
LINE
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
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
Vertical lines are straight up and down.
Vertical lines are often thought of as stable, immobile, dignified, and permanent.

Here you can see vertical lines in the windows of the Affleck House.

Frank Lloyd Wright
Vertical
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
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

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
sit amet turpis.
[Date and Time]
[Street Address]

&

Natural

Geometric

Abstract

Non-objective

-
sit amet turpis.
[Date and Time]
[Street Address]
Taught By Antonio Gaudi
Texture
Texture gi ves di mensi on 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
Antonio Gaudi

Visual
Vi sual texture i s the way somethi ng
l ooks, wi thout reference to touch.

An example of this is pattern.

Antonio Gaudi

Tactile
Tacti l e texture i s the way somethi ng
feel s.

Examples of this are the roof of the Casa Batll and Gaudis
mosaics.
Antonio Gaudi

Structural
A constructed texture i s created usi ng
pai nt and other medi ums.

An example of this is a La Sagrada Familia.

Antonio Gaudi

Symbolic
Texture that makes the vi ewer feel
somethi ng emoti onal l y.

Rough textures often convey warmth, l i ke these houses
at Park Gel l .

sit amet turpis.
[Date and Time]
[Street Address]
Taught By Elsie de Wolfe
Color
Val ue
How light or dark a color is.
Elsie de Wolfe
Properties of Color
Intensity
How bright or dull a color is.
Hue
Color in its purest form.
All colors are derived from the three
primary colors, red, yellow, and blue.
Mixing two primary colors together
makes secondary colors. By mixing
secondary colors, one can make
tertiary colors.

The rest of the colors can be made
using variations of tints (adding
white), shades (adding black), and
tones (adding gray or a
complementary color).
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
Elsie de Wolfe

Neutral
A color that does not attract
attention.

Example:
white

Elsie de Wolfe

Monochromatic
The tints and shades of one color
on the color wheel.

Example:
tints and shades of blue
Elsie de Wolfe

Analogous
Three to five hues next to each
other on the color wheel.

Example:
blue, blue-green, and green
Elsie de Wolfe

Complementary
Two colors that are opposite on
the color wheel.

Exampl e:
purple and yell ow

Elsie de Wolfe

Split-Complementary
A color and the two colors next to
its complementary on the wheel.

Exampl e:
yel low-green, violet, and red

Elsie de Wolfe

Triad
Three colors that are equal
distance apart on the color wheel.

Exampl e:
red, bl ue, and yel low

sit amet turpis.
[Date and Time]
Less is more.
Taught By Ludwig Mies van der Rohe

Space i s i n f i ni t e.
It is not applied or created by the designer, it just exists.
Ludwig Mies van der Rohe
Types of space
Pictoral Illusionistic
Actual
Pictoral
Rel at ed t o a f l at su r f ace.

Such as a sketch of a building.

Illusionistic
Per spect i v e i s on e of t h e way s t h at space can
be t r an sf or med.

The Phillip Johnson Glass House uses nature to make the space of the interior seem
much larger than it actually is.

Actual
I n t h r ee- di men si on al wor k s space i s t an gi bl e.

An interior is an example of actual space.
sit amet turpis.
[Date and Time]
[Street Address]
Taught By Eero Saarinen
Unity &
Variety
I n order to have uni ty, somethi ng must be
si mi lar. Vari ety means that they contrast.
Eero Saarinen
Unity vs. variety
Unity
Variety
Eero Saarinen
Unity
Harmony or agreement.

Similar shapes and colors create unity.

Eero Saarinen
Variety
Di sti nct and nonconformi st.

Although all of Saarinens works are similar in some ways, they are
all very unique.
sit amet turpis.
[Date and Time]
[Street Address]
TAUGHT BY FRANK GEHRY
EMPHASIS, BALANCE,
& RHYTHM
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
EMPHASIS BALANCE RHYTHM
FRANK GEHRY
EMPHASIS
WHEN ONE PART OF A WORK IS DOMINANT
AND CATCHES THE EYE FIRST.

IN THIS EXAMPLE THE EMPHASIS IS ON THE TEXTURE.

FRANK GEHRY
BALANCE
HOW THE ELEMENTS OF A PIECE ARE
ARRANGED.

BALANCE MAY BE SYMMETRICAL, ASYMETRICAL, OR RADIAL.

ASYMETRICAL
SYMETRICAL
RADIAL

FRANK GEHRY
RHYTHM
CREATES MOVEMENT USING DIFFERENT
ELEMENTS OF ART.

THE TEXTURE AND SHAPES OF THESE BUILDINGS CREATES RHYTHM BUT
DRAWING THE EYE UP.
sit amet turpis.
[Date and Time]
[Street Address]
Taught By Philippe Starck

Scale &
Proportion
Tomorrow
will be
less.
It represents aesthetically pleasing proportions within
a piece. The actual ratio is 1:1.618
Philippe Starck
What is the
golden mean?
Philippe Starck
Scale
How the size of an element relates to
its actual physical size.

The bike is to scale, it is the proper size for an adult.

Philippe Starck
Proportion
Describes the size of an element in
relation to other elements.

The proportion of the black sofas width to the white
sofas width is 2:1.

I Learn From The Best

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

I Learn From The Best

Uploaded by

Copyright:

Available Formats

1

Nam lobortis felis sed est commodo posuere.

You might also like