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
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. 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 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 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]
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Natural
Geometric
Abstract
Non-objective
- 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 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 .
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 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
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
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 Ludwig Mies van der Rohe Pictoral Rel at ed t o a f l at su r f ace.
Such as a sketch of a building.
Ludwig Mies van der Rohe 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.
Ludwig Mies van der Rohe 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. 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 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. 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 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. 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 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.