Famous Artists Course

Famous Artists Schools, Inc., Westport, Connecticut

Principles of experimental design

lesson

Albert Dorne

Fred Ludekens

Norman Rockwell

AI Parker

Ben Stahl

Stevan Dohanos

Jon Whitcomb

Robert Fawcett

Peter Heick

George Giusti

Austin Briggs

Harold Von Schmidt

COPYRIGHT @ 1960, FAMOUS ARTISTS SCHOOLS, Inc.

Printed in U.S.A.

Horizontal

Cambinotion

Diagonal

Verticol

These diagrams show you sound, basic ways to arrange design elements within a space. You can apply the same principles to areas of different sizes and proportions - such as wide and horizontal, tall and vertical, or perfectly square. Your pictorial material and the copy may not fit these diagrams exactly, but the basic structure you see here does provide a foundation for the more detailed and finished designs.

Irregular

Centered

Hourgloss

Nongeometric

layout and des\gn tne 'oo\et\ on ''he same llY\nt\p\es

as those you have been using to compose pictures. What you have learned about area, line, value, balance, etc., also applies to this lesson. The only difference here is that you will learn how to layout the whole page - the copy and headline as well as the illustrations or designs.

Principles of experimental design-

~"ti(George Giusti)

The artist who specializes in layout or design is very much like a builder. And his layout or design problem is similar to one in construction. The proportions, weights of the elements, harmony of materials and details - a!! must blend perfectly to produce a beautiful structure, whether it is a house, a package design, a picture. or a layout for an advertisement.

The designer, like the builder, must first find a solid footing [or his basic idea. He builds his construction on firm foundations. He divides his space into logical sections. He beautifies his structure, not with useless frills, but with all the richness of the simple materials used, The texture 0'£ concrete reminds us of gesso. The quality of glass suggests the smooth, transparent tints or washes used by a skillful artist.

The basic principles of design and layout are both simple and ancient. The early Chinese, Egyptians and Greeks all faced the same problem - how to create the most effective design for a given space. The Greek artist worked long and thoughtfully to produce the perfect design for an urn of a certain shape. The contemporary designer faces exactly the same challenge - but his area may be a magazine cover that measures II by 14 inches, on which he must create something symbolic of spring.

The Greek artist didn't know he was creating such lasting beauty. but he must have felt the same deep, inner reward as the designer of today who knows that his creation is sound and aesthetically valid, and that it communicates his message - whether it is on a magazine cover, a book jacket or an advertisement.

The artist entering the field of advertising or editorial layout and design will find a rich and varied area of work open to him. It is by no means limited to the comparative few who work for the big magazines, publishing houses and advertising agencies. There are posters, newspaper advertisements of all types and sizes, brochures of every description, house organs, annual reports. These and countless other forms of visual communication are issued by everyone imaginable - from the New York Stock Exchange to the food manufacturers, steel makers, automobile manufacturers, publications, drug companies, communications industries - the list is endless. All of these organizations and thousands more, both large and small, national and local, wholesale and retail, need the artist to plan and design their selling and mailing pieces and many other kinds of printed matter.

Creating new design ideas

To provide fresh new design ideas [or the endlessly varied kinds of printed matter that require them, the artist must have an open mind at all times. He must experiment with forms, colors, textures, type, and every other design medium available. Only by experimenting can he escape from the same old patterns and

create fresh new concepts of layout and design that will capture the attention of readers. If artists bad not been willing to experiment, we would not have had the great and varied forms of art of the Egyptians, Greeks, Romans. the men of the Renaissance, and today's modern artists and countless artistic directions. The same monotonous kind of art would be repeated year after year and century after century. It was the experimental artists who created the great an of the past and it will be the experimental artists who create the new trends of tomorrow. It is they who will be sought after by advertisers and editors.

Although we stress the value of new ideas and creativity, we do not mean to imply that there are-no guideposts for the experimental designer. Your experiments in design should be based on a background of principles that have already proven their worth. In previous lessons we have taught you the principles of composition, and these are just as valid in the layout and design of the whole page as they are for making pictures. In this and the following lessons we show you still more fundamentals by which you can attract attention. hold interest, and create a reaction in the viewer. Take advantage of this knowledge - out of your imaginative application of these principles will come your own highly individual and creative work.

Division of area - our first consideration Layout is the art of organizing the two essential elementsthe copy and the art, whether it be illustrations or stylized designs - and arranging them in a logical and pleasing manner within the boundaries of your area. There are countless ways to divide the space and arrange the pictorial material and the copy.

In the basic arrangements on the opposite page. the black and gray areas represent the elements - design or pictures, and copy - and the white space represents the remaining background area. The first six arrangements lise geometric shapes (like circles, triangles and rectangles) in symmetrical motifs. Since these six designs are symmetrical, they present no problem of balance: every symmetrical arrangement balances itself. Later we discuss the methods of balancing irregular designs like the last two.

YOLI will also learn in this lesson how to apply these geometric divisions of area to actual layouts. You'll see how pictures or symbols of objects can replace the geometric shapes. The horizontal bar in the first design, for instance, could become a block of text, or a row of buildings. The black dot in the third design could be a tennis ball, an apple, or the wheel of an automobile. or it could represent a complicated illustration.

The important thing to remember is that the basis of all good design - no matter what objects or symbols you may use - is the simple, geometric division of your space.

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l.,~n \ 8

Famous Ar\ists c'ourse

Principles of experimental design

This fin' motif is rnesslve ond powerful because it fills the area.

Dominance and the geometric division of space

In mathematics the symbol of two dots separated by a crossbar means "division." Since we are primarily concerned with the division of space, it makes a good symbol for us to use here as our motif. By changing its size in relation to the white area we can change its importance and produce many different impressions and effects.

All the variations shown here are geometric because we are using geo· metric shapes - tbe circle and the rectangle. At the same time they are symmetrical because the space is evenly divided, at least on the two sides. The actual interpretations of the motif can vary: if this were a layout for a food advertisement, for example, the two black dots might become realistic renderings of two oranges, or they might contain illustrations. Or the circular shapes could be two apples, divided by a block of copy or a colored or black bar of solid tone.

Smaller and floating in 'pace, it now gives " completely different effect

~ ,~ itLVOlNi:: .... in~)'P1I Cog; ~~ II'ItrQ4u.:;d In Iyp .. C.o~ it'!~cd'ljl(.,d In typIo. c~ It; IntrC'du,ud ... t~,;> •• C<I"P), It .,.,trr;.dVCf-1S In 'ty;M. c;;.opv I, rl1rod.'Iolf..O ~ t)lHJlI Copy 1.1. ;n~odlK.-d II"L trP4 Copy ~L lrII'.tn:.d'UltA!'" k'I ~, CIQ-"Y it Iintr04IK.o lin t1P'" Can h m'trQd:KHI .tn ~ ~P)' Ii.' InlJlodlo"iC &1;1 11'\ L)'I)IlI_ Cog)' 11. In~Clchtr;;,,-d Itto Iyp., C~y " in'l1c1chlC,Il" 11"1 t,.~ Cop)' h. in--

Copy is introduced and the motif now becomes part of a de,jgn or layout.

Copy ""~~'IIC"d In t~. lin ~rP4'. CQ'PY II Intl04uo;;.lIO trQd~.d In tYP9- (copy 1'1 c.a())' b lin ttol)d;K-.j iII"I IJ'CHI in t".... CaP'! ,. ~;Qd~.d tr'odLli[G ., f)1l •• c.op)' Lt CQP11J. lritrodl,,'t.d ItI trP'l_ III"It~.CGf!l'jlll'!tio.Ch.,!( • .::II UQQL;K,.d In t~ Copy!:t CopY lL ir'ltlodtX'Ad 11'1 typ!I In tyP-a. Covt ~llrrlrOd~.d troduuol# In 1'y;I ... CCpY it; Copy II "''IIIXIIX,t-rl In ~L In ryp. CQgy II btrO(l"iiK.d 'trooLK;.ClIin tyo.... Co." n CCltI,. b i.ntrodvc..dfnt:r"PeIr\ 1)'poI ~gy Ii Intr'o(i<,l(tloI!I t'roCUI;;." In t'r,K' Con LI CG-py tt IIIIItrCCl·IIi(.od In tt:l"'-

By odding ,tir! more copy and further subduing the motlf, the effect i. again changed.

Actual or symmetrical bala:nce

The design above is perfectly balanced. If either one of the balls were moved even a little bit toward the center this symmetrical balance would be destroyed.

When you do not have perfect symmetry, you can create a feeling of visual balance by anchoring one of the elements to an edge of the area, as shown below.

C.Q!J)' b lrIt:rod'l"M;edl ~ ~~ 1r11~. 'C-'II!;:I'.P' I" II'ltrQol3uiud It'od'loI't'''-~ '1I'l' I~ ~ u Clipfh "''IiQo;fl.lt;adlln,tytHI In iyPt- C:-V'PY li.lln.tJ'(li(h.1(.t!~ 'lr~IoKIIIi!jInI)'P4-.C~b Cv-py l:J It!'IJ'~~..d in !)'CI1I .... !fPI'.'C~fil1Jntra~LX: .. d trod'IKM W. t~ c:~)' ~I ~y II; i,.,;tf~oI't:.~ In t~ ." t~. Coprb >IrI~o.:!~oItdlroO(l"",i14lr1t~_ C'O'Pyo Co~ t, .... 'tr04.k;...cI ,11'1 ~ .tn t)pI<. Capy :11 IntrQiCl~ .. 4 't,I)d'IK,,(I in 'typ,._ C--oj;ly'l1

Hare Ihe block of (:opy re,l, on Ihe boHom of Ihe layoul cree, where ;1 appear< 10 support Ihe rest of Ihe slrudura ..

Vlsua I ora.symmetricalba lance

In, Ih;, de';gn Iha heovy block bar "bleed." 01 Iho lOp ·of tho arOa. lig;vo. us a vlsuel balance ond So provides 0 feeling of ,ec.urity.

Here Ihe block bar j, cnehered 10 Ihe left border to give 'lability to the yert;cal, bleek of "opy, .. Nolelhal the symmetry is dlsturbed by d.roppin.g the bar ever .0 slighlly below the center of the page - but the re.ult is a de.ign th.a! is, ae.thelkally .olidying.

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Sa\ance of non geometric shapes

The balance of th".e lour el e ments is quire .ali.lactory as rhe weigh! i. woll dlstrlbuted. f ... en though the .hapo at the top i. floating, it ;s so placed 0' to give a feoling of equilibrium.

Notice how insecure the lop shcpe is. here. Becau~e it is extended 100 for Irom the vertical poinl toward the lelt border, it appear< to be slipping off.

Here js the opposite condition. The top shope is too lor to the right and tha point of support i. too lor Irom the center 01 bolonca. It will fall down.

This time Ihe verticol middle shape is rnuplccad, being too for to the right. The gonerol elled is that the structure i. being crowded into the lower right.

L,,,on 18

Fomous Arli!.ts Course

Prin.ciples of experimental design

.7

The use of non.geometric sbapes

The two examples below are not geometrical. These irregular shapes do not divide the area into equal parts and do not balance themselves amomaticaHy - as do symmetrical arrange· ments of geometric forms, The problem is to place these shapes in a way that creates the illusion of balance. cV\le must feel here like a juggler balancing something on his head - a fraction of an inch to the right or left and everything may collapse.

8alanci.ng three elem.ents

Trece Ihe.e form, and C"' thom 0~1 01 black and while (or colored) paper. Then move Ihem or·oun.d wilhin ., rectangle of con'ra.,.ing lone, Irying va,iou'arrange' rnents ",·nli] yo~ leal how th~· ,hap",. are performing in r~.pect loeac.h other and 10 Ihe· backgroun.d. Who·" the form' are approximately the serne Sile or weighl, thoy win balance when, louchingeo:<h ot.h~r 0.1 apoinl neor Ihe middl~ 01 Iheir width.

Bal.ancing two elements

Har"olloi:n are ~I~m~nl. 01 two differ~nl value s. o.ne is while and Iher~lore lighl; Ihe ether j, black and seem, hacvy, II is Icgical 'a plcee Ihe heo.vy blod: one a.t Ihe baltom, ·.,,0 ,upporfing ba.e. Again yau will find Ihat lor balanc~ Ihe bost toud,ing point i. abou I in Ihe middlo. Cui out other .hape' and try arra:nging Ihe m o·go;n.1 backgrounds of various sile, and prcportiens.

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From An o;re~lor ~\ Wor\:.; p~b\i~hed by Ha~\ing~ \-\QI!~e. copyrighl \~~~

THE ART DIRECTOR AT WORK

Simplicity

This composition for a title page is based on a simple, geometric design. A manumental'£eeling is obtained by the simplicity of its forms and execution. Notice too that there is a certain classical flavor - the design suggests a pyramid with the sun above it. The generous use of white space greatly strengthens the design.

Lesson 18

Fomous Ar\ists Course

Principles of experimental design

9

Variations on a theme

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Symmetrical effects: Here we use nothing but three block boll. and two bars. Bu! see the Yoriely of design. we can moke with theml These, of course, Ore only 0 few - the possibilities of combination ore infinite. Bec,cuse 011 the.e design. are symmetrical the feeling of balance ls achieved automatically .

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Asymmetrical cffech, The scme block boll. and bars now produce asymmetrical effect s, They ore .till the same geometric elements, but o. they are not or,onged symmetrically, the foaling of vi.uol bolcnre mu.t be produced by sensitive placement of the eloments within tho group ond in their reletlenship to the .pace around them.

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Geometric effects: Many interelling de'ign. come from combinations 01 Ihe.o simple form. - circles, squeres, triangles, rectgngles. Although Ihe 'hgpe. themselves gre simple geomelric ones, it i. p01Sible to project slriking god powerful effects by arranging them with imagination.

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famous Artists Course

Principtes of experimental design

The effect of dark and light backgrounds

A da,k background wi,h a lighl design i. often u.od 10' book iackels. The rec .. on jar Ihi. i. " precficc I one - a book i. ha,ndled a greot deel and a while iac.k"t will sci] 100 eo'ily. Te stcnd out ogain,1 a dork back. ground like thi., all Iho desiqn elements must be light.

Courtesy Gtj)phi~ Prcu

Th .. medium tone of thi> background affard. good ccntrest to the white areo. and cl so .how. up tho block printing in Ihe duign and copy. Bo,ically this i. a pottorn of light and dark ogain" halltane.

You get a lighter feeling frorn a background Ihal is e lIher pure while or light in lono. In either cose the lettering can be imprinted ,in color or in bloek. Notice that this eireu 10 r dark shape /locti n9 an the white back. ground give. the illusien 01 being smo ller rhen the white circle in the de.ign en the feft - actually, the two are exactly the same ,izo.

Courtesv Olin M~.hie:5,on/AI'lJminum

Although this is a pallern 01 dark elements on a light background, its aver-all effed is quite different from tho one above, because of the weight and thickness 01 the powerful black Ii MS. II else has the .'rue· tu,al adva ntage 01 tho 10 rgo M re.ting .01 idly en the bcse 01 the area.

Two- and three-dimensional effects

, ." ,." , ',. -'
LJ
\ Here you .ee the cube in true perspective. Thi, cube within the frame i, not rend e red in Iru e perspective, bul by de.ign and taM H "r.eate. its feelinS of three dimensions. The S ray and block tones on the frame and cube ,,1'0 odd depth.

Courresy- Graphis PrC5"S

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p

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Two dimenslons. No attempt wa. mode here to create a third dimension - in faet. it wa, avoided. The ideo was to empha'ize .trong design and spontaneous technique. To increase the eesvel feelins, the play of light and shadow was purposely ignor"d. Tho shapes were carefully placed so they would nat be ,ymmetrical or ,u9ge.t mechanical precbion, but rather be 1'0" and playful. This was all done becauo .. a cover for Graphi. ma9azine should not identify with anything mechanical - it shculd reflecl tho ertlstie character of the publication.

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A two-dimen.ional rendering. Whether the sq vare i. in color or in block, tho e ffoe:! will be flat. Thi. ls baccuse the form otand. alone end " not rolaled to othor .hape. of differenl valua s.

By the .ubtle use of different values you can obtain three-dimenslcnel effect. even when using only flo! lonel. Allhough the shades in this composition are all flat, Ihe block seems grad~olly to recede .

Cour'",y Olin M.!hi" • .,nl Atumin~m

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Unlike the Grop";' cover, a rigid geometric motIf was used here to emphasize Ihe feeling of preclslen and technical achievoment. The third·dimenoion effect i. obtained entirely by u.ing flat tone s, The 1i9ht is directed from loft to right. The graduated nuances of tone - from very light 9ray to deep black - follow thi. direction and ereete the three-dimonsional foeling.

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Horizontal

Combination

Basic layout designs

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Vertical

Centered

When do you decide whether a layout or design should be horizontal, or vertical. or centered, or a combination? The answer is: before you start to draw. It is I ... hen you - in the thinking process that precedes any physical action - consider the problem that faces you. To what shape or symbol is your subject related? How can you use it in your layout? Does your ubject lend itself to a horizontal or a vertical page - for example. do you have a long row of factory buildings and forms? Or is it a vertical shape - like the simple smokestacks on the factory

buildings? Each subject demands a different creative solution. It would be illogical, for example. to draw a long row of factory buildings and smoking stacks in a vertical space. If the character of the stacks is the important symbol. then you might create a vertical design with the stacks alone.

The shape of the space determines the direction you will go in establishing a design - and limits the liberties you can take. However, in any given area it is pos ible to handle many subjects well in horizontal or vertical designs.

lat', assume you want a powerful symbol of industry, and yau have a vertical area in which to work. If you use a horizontal arrangement 01 fac· tory buildings. everything becomes small a nd innocuous and all you have is a row of faclory form. a. in the horizontal design on the left. It has no impact.

On Ihe right we limply take two

smokestack. and make them a pow. erful, vertical .ymbol that .oy. the '0 me thing in the .• ame area but with much moro ,trength.

You can handle serne subject, with either horizontal or vortical de~ign'. The trumpet. piclured here are an

example. They can be arrangod horizontally or vertically and will bo effectivo either way. However. il you have " loll narrow space in which to work, then the vertical arrange· ment at right would be for more lag· kol than the horizontal one at left.

Applying the basic designs

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These four hlYOUt5 - horizontal, vertical, centered, and combinationdemonstrate how our basic designs can be applied to actual advertisements.

Courle.y Olin Mothi.son/Aluminum

Horizontal: You might think of these as a ,u,ceuion of units Ihal work as a team Ie make up a whale compony. The,e ore the "building blocks" of the organization. This is .hown in " horizonla I .'rip ". a .ymbel ef Ihe cooperotion of the individunl .edien. end personnel' of a compo ny.

Court".y Rond. McNally & Co.

. ~_ .......... _,.~~~1i«M..,.MII ... .c,..." ... ~....,.~Miv.,... ...... __ :ttte...,"-~ .... I~ T"',~ • ." .... ~"""('~ K ..... »L'IC.,. .....

~~ Hi."'~'" ~ ~diW_' h:D~b_ ~

-:a. ~"'"'~~~ .. ~~

........ '-I~.q~ .. ~.:..~ .. ~ .. _ ......... ..;,.. ..... ,.bi"""'_ .. ~ ........ ~_

, ,...._~_.I ... ........--"_.:.... """""..i,_ .... ~~ .. _......

Centered: Thi. glebe, with 11. figure, is logically centered belween left and right borders. Beneath the globe, the larger copy block and smeller trademark are visually balanced between the ,ido, of the loyout spoce,

Court".), Olin M.lhieoon/ Aluminum

Vertical: This i. " ,ymbol.of 0 big corporation rocching for an ever.grewing market. The a "OW, 0'0 avidonee of tho eompe ny's e!'fcrt to reach continually upward 10· word highor acn ,avome M and even higher goal s, "Up" i. Ihe key word of this symbol.

COy" •• y Ford Molor Co.

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Th.II .... n ..... ' • beHet'road •.

ThO cUlzon·. auppot1 of wl.a pln.nnlng

.nd u •• 01 filalnda gOI. .h .. road. bun.

Combination: This symbol of our superhighway. lend. it.elf perleclly to this form of loyout - the complex c,iucrouing of highwoy. provides a natural eron design combining horizontal with vertical arrongement.

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Lesson 18

Famous Arlists Course

Princip\es of experimenta\ design

The importance of black In design and layout, black is the center of the color symphony. All the colors can be related to it. Compare these twin sets of color layouts. Black has been added to the second one of each pair - see how it strengthens them. The p~esence of the black makes the over-all design much more brilliant, and gives the whole arrangement far greater impact.

This design has .ne large creo of bloc •. Therefare the calors seem to lock brillionce ond we get c weok rendition of on alherwise bold and powerful design.

No block wo, used here. Cen'equenlly both design and brilliance of color are weakened, ond there i. a compeWive monotony of colors and lanes.

Courtesy Olin Mathieson! Aluminum

In Ihi, voriation, the black areo added 01 the right· strengthens the design and make. the colors appear much more luminou s,

Courtesy o. S. Tyson Co.

See how much more strength Ihi. figuro now hal with Ihe .moll area of block added to its center. Thi' providcs e ,trong focal center to which we con relole all the olher color. ond lexlure s.

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The power of simplification

This is an anchor in its simplest form. It is the result of drastic elimination of details from designs like those below. This process of simplification leaves us the bare skeleton of an anchor - it keeps only the characteristic structure of the strong upper cross-form and the half circle at the bottom. Freed of details, its simplicity is strong and effective in communicating its message. A simple silhouette like this can be reduced to a quarter-inch in size and still be clear and impressive.

Compare the clarity and impact of this imple design with the more complicated anchor de~igns shown below.

Haro ;, an elaborato design of tho onehor crcssed by a terch and Ih. symbol of medicine - two •• rpents on a .lefFall intertwined wilh laurel leeves, The anchor is alma.t 10.1 here.

The craued anchors, shield, and sprecd eagle in the CD p in.ignia of ccmrnissiened officers of the United Siale. Navy create. an elaborate but sernewhet le •• complicated de.ign than the one at left.

In this .imple, arrangemeni the Iwo cro .. ed oncMorl ond chain are quite 'eolillic. Bul even though they are not confused by extreneous ile ms the de.ign i, '.!ill camplicat"d and involved.

This fifteenth·contury trademark i. a slrnpie eng ,aving on copper. Excep! for the fi,h twined around ils .tem, doesn't it have a remarkably madern feeling?

Simplifying and subtracting

There is no substitute for clean, simple, stripped-to-the-bone design when you want to communicate an idea. You can often accomplish this by removing every element which is not essential to the design. Any cluttering of the layout makes it harder for the viewer to feel the visual impact and get the message.

The main elemenh of this cover de,ign - the T-squcres and t,iongle,can be recognized, but you have to hunt for them. Too many nOM .. enli,,1 e le me nts co u •• a dlserder that de,troy. the de'ign', impact.

This i. a con/u,ing attempt to c,eate a symbol 01 time by overlapping the rea lillie hourglo .. and the clock.

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A symbol- the clearest way to present an idea - should never be littered with a confusing mass of detail. It should be interpreted with originality, but still retain every identifying characteristic that makes its message clear. Note how much more effective the two designs become after simplification.

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Seo how the same main elements - the drawing implement' - .ta'nd aut forcefully in thi, arrango mont. A humereus net. is else added by intre· ducing the twa eye,. Thi. give. the design for greate, 'trenglh.

500 how much marc quickly and elee ,Iy the .i mplifiod version of the hau'glo" alone communicafes the sarne idea ofrlme.

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Fomou~ Anhh Ccur!.e

Principles of experimental deslgn

Avoiding all detours

Courfe.sy Avletlon Dtv'rr., Tolndo. O.

1 This photograph .hows .he complex metal framework of a building under con. slructien. We won' 10 .implify - 10 eliminate all none •• entiol de.oils - in order 10 make a contempcrc ry design bused on tho theme of ,'oel construction. Obviou"y the l-bao rn girders, .'eel frame and cage·like de.ign are irnportcnt merlfs.

2 This simple geomo.ric pattern retains the e .. entiels and giv ... us the impreuion of a modern, effltien! construction [eb. The block i. Ihe .kelelon of the de'ign and lho groy lone odd. jntere,t to the division of area. The cleon-cut edge. ,ugg".t the material. involved - iron, .teel, wire s, A fooling of balance is ereoled by .he different weiqh+s of the beam s, I. i. clearly a construction in .teol. But even groole, sirnplificofion i. pessible. Nolo thot Ihe shcpe of the b becm i, now becoming more prominent in th" de,i9n.

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3 'In this version the desien i •• implified oven further, Just Ihe .... entiels are loft.

Only two areas of gray remain. The .impler desig n is much bolder and the l-becrn is obviously dovoloping into it, main svmbol.

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Shock ImpCllct: Here i. the I-beam-the domlnent .ymbol of the construction iob. It communicete. the feeling of .teel ond structure, and it is the ultimote in simplifieotion. This i, deer end commonding - it he. powerful impoct.

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1 The crealive precess slarls with this old engreving of th e official Brili,h coal of arms. It is immedialely clear Ihat this complicated desiqn is nol suiled 10 0 mogoz;n" cove, - either in lerms of shepe or technique.

3 The next .Iep i. 10 move in to use Ihe head elene ond .Io,t 10 poslerize Ihe lion', literol portroit. Bul this version i. 100 small for Ihe 'pace, loa bu.y, and too detailed.

6 In this finol form, the crown tak", over almest enlirely - vory oIra"9.ly a,nd elFectively. The lion is still th e re but his head is now simplified and ,econdory in imporlonce - we have kept only the e .. .,nlials. See how much more effective th i. design i, Ihon Ihe one diro<lly above.

4 Here the crown becomes morO imporlont and lends il.elf 10 .Iylized design - bul this is nol con,hlenl with the still-tco.literc! lion'. head.

2 A fi«t experiment imitale. Ihe engraving slylo of a porlion of Ihe large lion on the left of Ihe (oat of arm. - but it d.,.,.n't fit Ihe page proportion s.

5 This crown ls bigger and much more exciting.

Tho .impler version of Ihe head is better, but as crown and head are equal in area, they now seem to lig~t for dominonce.

Simplifying a motif, step by step

This assignment for a Holiday magazine cover was ro create a design that symbolized England. A logical thing to start with was the British coat of arms, complete with the lion and his crown. It was quickly obvious that the coat of arms itself was not really essential- the lion was the important symbol. But the lion's head had many superfluous details. Bit by bit they were eliminated. This progressive simplification produced a symbol of poster-like quality that stated its message with great clarity and impact.

You must always be careful to retain any details chat are essential to the basic character of the design. Realizing how much the British people respect royalty and the Church of England, .it would have been wrong to eliminate or minimize these powerful symbols - the British crown and the cross on top.

7 Do you see how the Q.onerous use of black ernphcsizes the brilliance of the other eclors here? Til is is now 0 powerful design - and a, " eevar il hod groat ncwssiend impact - lis main function.

Holiday, © t958 by The Curli. Publi'hing Co.

APRIL 1958 • SOc

ENGLAND

O,ne .ubiect - :ma:ny tech nlquess Each of the eye. below wcs done in a differen! !ech nique '10 dem,on.'I",'e how 0 medium, or 0 slyl e of workin9 can conlribule a parlicular character and irl.1erel' to CI design.

Phol09'0ph

Wolli pencil

CCCI!"5e' 911grc,ving

:Pen ond ink

Wa.h

Pendl

lilh09raph crayon

flol black Ink

Your choice of techniques

Every style and medium that serve the illustrator can be used just as effectively by the designer. You can handle most subjects equally well in many different ways. But as the technique can do a lot to express the fundamental meaning of the design, the method you choose will be dictated by the message you want to communicate. Some techniques are gay and casual, others are dignified and serious - some are rigid, others are flowing.

In design and layout you are also dealing with copy. So YOll can choose an art technique chat contrasts excitingly with the type used for the text - or one [hat harmonizes with it closely and effectively.

Since most designs compete for the viewer's attention, the need for a fresh and original approach is vitally important - the proper choice of technique is essential to make your design stand out above all its rivals.

Lin~, for example, can be thin, brittle and wiry when that quality is called for. Or it can be broad and spirited if you want a more powerful effect. A very valua ble asset of line drawing is that it reproduces well on an)' kind of paper. It Can also be reproduced with great reduction in size.

Like line, the dry·brush technique will produce different textural effects according to the roughness of the paper and the dryness of the brush. Again like line, it reproduces easily and is very effective for impact in a broad, powerful design or drawing.

India ink used as a wash gives a good range of surface textures and effects with a particularly nice quality. If you live in an area where the tap water causes the ink to coagulate, adding a few drops of ammonia to the water will prevent this.

''\'ash is a transparent tint you can get with either water colors or transparent dyes. With wash you can exploit the full range of design - from the most meticulous, tight rendering to the most excitingly ca ual and spirited interpretation of a subject. This medium must generally be reproduced on good-quality paper.

Tempera or gouache can be used to simulate oil paintings.

With it YOll can create a wide range of mood and effects. It is good for poster subjects that are broad and free, as well as for the most meticulous photographic rendering. The opaque quality lends itself admirably [Q overpainring and to many surface textures - as well as 1O unusual techniques in combination with other medi urns.

The airbrush should be used sparingly and never by itself.

You should use it only in combination with stronger structural techniques. Actually, in modern design the airbrush is used almost exclusively LO obtain a flat surface devoid of brush 'marks. It is equally effective in modeling where brush strokes are unde-

23

sirable and extremely subtle gradations are required - for example, in modeling precise mechanical surfaces.

Crayons, soft pencils or pastels are good where strong surface texture i desired. The degree of texture depends on the paper you use. Here again you have a nne technique for spirited renderings and unusual or unique textural effects. Pastels are often used in combination with other mediums - for example, to secure such effects as rough against smooth.

Lithograph crayon, when used on a smooth surface, can give you a wide range of tones - [rom it rich, beautiful, velvety black to very subtle gradations of gray. It is a good foil when used to enhance other mediums - such as a crisp pen line - or to cornplernent the precision of type.

Gesso - mixed with water tempera if color is warranted - can be applied in many thicknesses, using either a brush or a palette knife. It gives a three-dimensional feeling and, if not overdone, can lead to interesting experiments in the field of illusionary three-d i mensiona I design.

TexlUral tricks are another possibility. You can get many interesting textures by painting a piece of cloth, wood, or the back of linoleum or other textured material, and then pressing the wet material on your paper or your design - in rubber-stamp fashion. By cutting stencils to mask off the areas in which you do not want to acid the new texture, you can control the areas you work in. Rubber rollers are also a great help when forcing the wet material against the paper. There are limitless textural possibilitie and combinations at your disposal- it is fun to experiment and you may discover effects that will be very valuable to you.

Collage is an important technique for the designervWith it you can produce many textural and three-dimensional effects by pasting paper, wood, metal, or many other materials down 011 your drawn or painted design.

A word of caution

The important thing you must remember is that any technique is only a helping hand in the making of a good design. Techniq ue alone can never replace a direct approach and intelligent design. Technique alone will never create anything lasting. It is wrong to think that a cleverly applied technique can make lip for structural shortcomings. It will not, in the end, fool anybody - and it will only result in poor communication.

If your design is sound in approach and concept, if your idea is clearly expressed, very often the simplest technique is all you need to execute it successfully.

24

l.,~n \ 8

famous Artists Course

Principles of experimental design

Contrasting techniques

Here is a powcrl~1 ond spiriled drewing done in Ira nsperent wo.~ "9,,;n,1 a bockground of fine pen lines,

Courtc.y Vintage Books. Inc.

, VIM"'! ~GU KI! 9S~

Pa.lel can be ha nd led as 0 brood spiriled med; urn like this - or, when necessary, il con produce Ihe most beauliful closely related texlu,al qualitio s.

Th •• brush drawing on rough poper has great .trenglh, yet il can ,,111 prod uco a beautifully,,, Millve qu"lily "nd .pi rit,

This is on effective combinolion of medium s, Again.! a bac~ground of .emi-opaq ue color " leaf was i mprl ntad by 'tenciling end rubbi'ng 10 creole Ihis Iree ,ymbol.

Courtesy Graph;, Pre"

Cou,toSY Verve Retords, ! nco

GIOCH! DELLA' XVII OLIMPIADE

the cole porter song book

Uoft!bs:ra:rlll <O<CpOIit ....

1Io~ .. t.,. I""""",,,tk

ell a fi izgerald

Ideolly suited 10 thls $ubjecl- a powerful opaque render· i ng creole> a symbol of Roman onliq uily Ih rough the brood textural surface. thai con be achieved with this medium.

The Ao! moss of the block India ink ls conlrcHled with Ihe fine penline drawing 10 9ive a ,Irong impocl with a touch of sonsitivity,

Th;, ';nle,,,,ling effect we. echieved by cembinin g' on, old eng,o,ved ,lIu""olion 01 fi.l"ng and equipmc 01 with a conlcmpofe"y flat de.ign.

You, can combino many .ubjects 01 diffe"ent texlure. and • .,dace. to produce on i:nfere:5.1ing end Uf'.I'LH.ual de~i'gn~

2S

He,,, <> pester i. posted over newspcp er. The opo,!ue background with chalk sercwls repre,ent, a wall.

Courtcev M,ndemoTse,I.I'e

A humorous drawing goes admj,robly well with Ihe three"dimen,ionol photagrc'phic Ireat,ment of the crayono,

26

row, did ;t fine job In the --..:::.......~:::o;.._ and hls mates gave lIlm ex

lent support. Marcel. who

been up with the Rangers

two other occasions, posted second N. H. L. shutout. He

his first in the first game Newspaper played with the Rangers

'rm:nm'l'll"l!erli!l'!l''M'TolII 1957-58. He worked thirty-U games that season. Last sea! he filled in for the Inju Gump Worsley in one game

Paille, called up recently

gain replace Worsley.

Sandpaper

Woad

Corrugated cardboard

Collage

In French, "collage" means "paste-up." When you make a collage, you create a design by pa Ling up bits of materials like those above - either by themselves or with a painting, drawing or some other flat surface.

The collage must stand or fallon its structural merits. The fact that you are using odd or varied materials may add to the interest of your composition but it will never conceal poor design.

In collage you can produce many exciting effects by combining a variety of unusual substances. But don't be tempted to use too many - this will confuse the layout. Limit your materials to those that most effectively communicate your idea. If, for exampie. you lise a find)' detailed old engraving as the basis of your

Engraving

design, you'd better apply only simple materials and flat shapes lO it. The same principles hold true here as for all other good composition - you must use simple, quiet areas to complement and balance those that are busy in paltel'l1 or texture.

The simplest Lype is the fiat colJage - on your base you paste materials so paper-thin that theycan't cast deep shadows on the background. By contrast, three-dimensional collage uses objects that have real thickness, that stand away from the surface and throw strong shadows. Here you can use pieces of wood, tin foil, glass, knitting wool, cloth - even stones and bits of metal. In fact there's almost no limit to the materials you can use imaginatively in collage.

famous Artists Course

Principle!. of ex.per\menta\ design

'1.7

Collage used effectively

CO'l".lrtc!.y Graphi:.. Preu

A beo II til,,1 contrOl! 01 Iwo textures ~ the two sheets of tin foil lorm an excellent background, while Ihe tones 01 the iron implemen! creole a .I,ong de,ign.

Courte.v Now York Time.

A 'very inventive use of newsprir"lt in ccrnblnetlon with c drawing. This WO$ Q good ehelee of collago motorial slnee the odvcrti.cmont woo lor ° new'poper.

Court •• y N.Y. Ufo Iruvrence Co.

Ever since a

was (l stone and a

was a bun ...

A highly crealive oxample 01 collage. Here we use not only tho tOxluro, bul 01,0 the .hope and dimen,ion. of the obiech to communicate the idea.

Courle.y Knoll A .. aci.te" Inc.

UIU. lUJIIS. ~ gS IIUJNUIf !nail. IIW ~ n. ,I, r.

Uphol.tery labric. - on interelling colloge pottern mode up of geometric .hape, and bib 01 the material. ",ed to cover furniture.

28

An imaginative combination of different techniques

Crouholched pen line

New York and Penn commissioned designer George Giusti

to create this insert, and

to incorporate in it practically all he demands on the printability of paper which could be encountered. See for yourself how faithfully PennlBrite Offset has reproduced each of his design elements ... how well it passed his "torture test." Penn/Bri te Offset is the white, bright, ualue sheet that comes

to you moisturized

and double-wrapped.

These two designs were created as an ad for a paper manufacturer. The front view of the puppet was printed on one side of the page, the rear view 011 the back. The many

di fIerent tech n iq lies were used to

rl ernonstra te t he versa Lili ty of the paper surface. This is one of the rare occasions when appl yi Ilg so many tech niq ues at the same time can be justified.

The puppet seemed to offer a unique way of demonstrating the various mediums - more interesting than an abstract arrangement of swatches.

NEW YORK AND PENN Pulp and Paper Manufacturers

29

APRIL 1957 • 50c

.\

U, 'II •

~Ie,

'une "It t ,~e: (. fllpldt IIS,SQIo 049.ll.e. \

eh : A III. ~ aU-COlJtl

I 0.11. JKl:~ III Ilt cell'

rE est un d

c. ',Pol1lvalents

W" p_ature est

e, Sell Is 1es l nt J"'fenti/fer te, (I,. jjude da" ents ~pll)ts, eL

-It V (I" des gali

,Il. ,il est plus prot pas ie riSquer a

ell scolaire, Il se tTl 19lue . atiec les mt s dans un parpai1, naticaf ~ indlssolubll,

aus.$i un des motl Ie lTctn~af$ pOp'ulafre Iran;!}tiis ecrit Ii ten~' s: J10puZistes usent Ie, !ibrem~mt~

"per/net de mettre, ; 1mB 'inversion torcee, 'O·u~ de mots en va.- . :11. t~te'· d'une phra.se. un "dii' Procedts. U,n . fcsJf.de C¢Une : Rlen a.)eu!:'~1falsa1t - En' 'de' cl'ever: Q.u'll etalt.

l j)etft·,er:ldroit coquet 'eWt;]e'vDlage (Voya .. l'boUt"de la<nuit). carmitruction, 1H~ laft d'Mte! "',. eUe agace ~:'p~'" spft a/l~ctatf<Jn

1'IWnJ)to~i,. ,

"" le 1ran,al8 41opU~' 'q:u,e' t~ introdtdre ~, n;Cfs...._.iL; it, remplaae r3f~ hflbttuel)e du

:; J)rOle de corps, qu",

! 'dJIi (CHona, Golllne) . t~ dl!botB ? que, je li& (.1 •• 1'. Baittsl L'afl~ f.!on.). R4!awns pas de-

quf:1l me dlt <deline,

• Cel4 1'(tppelle la o~cf1utruon c Le bal de ,t de vtu« " : ~mj qneJ'fuL dIs... ,

I.f ra. ta:naue llomHafr6j

an

TI l:~ :6,n:g"taIS, qlu euTI;J<£--ae, L 1Jlo1UJrcJti~ ena,sslstant a. la

13tummel, dans !equel eeu ,Pueril regent Qui devfnt' George" ,ront bient6t Z'occasion' deo' vOir;' comme « un nouveau! cllapltte ii tnT'll ·',eroce de I'ambition' et un. l'klstoira .de Zeurs 1'ols. Sj~ La'Uri stud.ios londoniens de She1JJwTtOJ strle sllake3'Pt~arien]ie/ Rfc.hard':ll

cipa~ Ie, ~oiju'cte

Bien qu.e les contrOVllTses sa pow '" ce monarque d.UT. et violent. 'Jisage Jut nofrci f)otontajpe 'teme en. Amerique une.4 '"llivter ne prend. pas 1" 1.elavorable au meu '<!.cran: cette 1fJJ. I ~~. de chlCane~ "'Ccand.$ .act • ... qtUit:reJ dT;J:

entire

issue

on

\

t tl.

France

m ph pei

uZe)

. LOt ~ Ierne.

" dans "done

,v,alt p, telleme enrenee devrais tellemen.

'rne de poll" 1m '

/"~ Que, ccr,

" !iordlnatf<J1

'f . lieu.' IV'U n I

, - ~ ~ - _".

30

Unusual techniques that add interest

Courle$Y Modern Packaging Magazine

MODERN PACKAGING

.1 ltfl.lIrIf1IIU" l-mIM,,., ,II ,.t/"'I,,«J.~i/ll;' ,,/W, nO<! "'m-rUQI

..JANUA'R¥' tD.,d

This desig" owe. much of its inleres' to Ihe sharp contro,t between two very different techniques. The hand and besker ore in a heavy black dry.brush lino, ragged and irregular. Thi. makes on exce!lent foil for Ihe smooth lones of Ihe transparenl dyes v.cd for the bettles, with their subtle gradations and predse edges.

Courtesy Graphis Pre ..

. h

~, ~ .

•

I

s

!

•

~

i

•

f

{

!

I

i

)

• y

,

" I

i

•

I.,
\
43' ,
~ ...
<i ...... _ \ This i, a thin, delicate pollorn of copper wire and flat abstract shapes of metol, .oldered together and painted block, The wire ship was .el again" a background of rough plaslered ge .. a applied with a palette knife on a wooden panel. The censtruetlcn wa, held just above the board by a few .mall nciis, 00 thai the shadow. it ca.1 wou Id add furIher del kacy and dimension to the design.

Courtesy Mode,n PacKaging Magazine

\

I ,

'" . \

p,""'CIKAGi N~l(

.1

\ ,.

.

. I

'j ,.

f.

,

, ,.

( .. '

)

I

'.

"

. ,

,.

, .

\

I \ r

•

liII ,.W.lIUUJIt.ii

)

HrJlr par:iml/tn6 A~/,. I.n.rrlligrlJf *-~ tQflo,~~",~n

. \

\ 1 ,t;.J..t' J

After the cubes were outlined, their aroas wore masked to protec1 the surface of the poper, To mako tho background, g •• so medium was applied thickly in a bold, irregular manner wilh a palette knif e, This croated a rough, pla.tered .urface - whleh gives an exciting lo"tural background Ihat contrcsts wilh Ihe regular geometric forms of the block s. When the ge .. o was dry, Ihe mo,king was removed from the blocks and Ihey were then painted.

Courtesy Grophi. Pre ..

This area wa. first .meared wilh rubbor cement. Palches of the cement were Ihen removed and gray tempera was painled over tho whole thing. After the paint woo dry, all Ihe remaining rubber cemenl was rubbed all, leaving the intere,ting .treoked areas of white. A, a 10,1 ,tep, the design was pointed over the gray bacKground.

Thi. ls 0 typical example 01 flat <ollogo. Newsprinl cu lout 01 a French newspaper was tinted to rna lee it stand out beller ogain.t the white paper of the cove r , The derkertoned print areas 01 the fa<.e end neck act a. a shadow end "eate the iliusLon of simple form. Notice how Ihe strong mo .. 01 black is used for .lrenglh. and the pure red for contre st, The blue, white and red are the colors of the french flag and tllo hoad is of the girl Marionne. the symbol of th e French Republic.

Reprinted by sp"cial permiu,on from Hclldev, @ 1957 by the Currls P"bli.hing Co.

32

_'" , .

. -

Threedimensional collage

Collage can be very exciting when your materials introduce real third dimension. As with two-dimensional collage, the number of substances and textures available is enormous. Once you have produced an interesting arrangement of your elements, you can enhance the effect of your design by photography. By using light and shadow imaginatively YOLI can create striking pictures of three-dimensional objects.

It is lip to YOll to elect the most effective materials for yOlll' collage. You mu t decide whether hard objects. or soft ones, or a combination of them, will best express your idea. Hard objects suggest precision, an industrial feeling. Soft materials like silk or cellophane are more suitable [or a fashion 01' cosmetic layout.

The above illustration shows how even the most commonplace

Prac;fical use of three-dimensional design

rhi. de,ign. i, for a moiling envelope sent to proapecfive .tudenl. of our S<hool', F.ine Arts Course. We wanted to .!imulote their desire to pain!. So we ,queezed ,everol bright little blob. 01 different colo rs onto the pol~tte in " well-plenned arrongement - and then phoTographed The whale thing in full color, using The light and .h"dow To oc<~ntuot" the textures and the threa-dimemionc l cppecrcnce 01 the eblects. This prosentction is mad~ much marc convincing by phoTographing the o.tides in Iheir true size and brillian1 tone s,

materials can be used to produce a striking effect. Here you see a [ace made of three pieces of wood mounted on a board. A scrap of metal makes the moutb. The eyes are holes, the eyebrows bits of wire, and the hair just ordi nary twine. otice hO\I' the horizontal grain of the base board contrasts interestingly with the vertical textures of the wood face.

Using materials like these just the way you pick them up will show YOli what can be done. Look around and see all the interesting objects you can put together to make three-dimensional designs. H you wish, you can enhance your collages by decorating or painting them.

Three-dimensional collage is an ideal way to create designs showing products or materials, particularly those with textures.

On thi' moil.ing envelope for the famous Artis!s School. we .ough1 to create 0 convincing illusion of realily - we wanted to make Ihe tools of the "rli.I', tr"de look so real that the penon ,e<eiving it would leel the urge to reach right out ond pick them up. By using a lorge envelope we added to the reolism by .howing Ihe obje<ts in their natural size. To gel our dosired effect, wO dipped the tools in various brilli"nl lone, of 'hiny enamel and then arranged them on a lighl gray background. Then we photographed the composition. "sing Ihe light and .hodow to bring oul tno roundness, the third dimenrlon of rhe vnrlous article s, The re.ull i. a highly effective de.ign.

33

PACKAGING

'H THfI ISSUE:

"he lUll; Oil gel/! a boo s t from cOlld_}'-and candy gilts it.< lilllron~ TJ(Jckallillg

DECEMBER '954

A good excrnple 01 three·dimensionol collage creates a happy symbol 01 Christmas. The actual lollipops Were printed in gay bright colors - to represent the decorations on 0 Chri<!mas tree. At the same time they communicate the idea that the lollipops are protected by modern packaging.

Courtes.y OUvett[ Corp. of Aml!rka

In thi. auignment lor Olivetti tho ortist erranged the octual key. of " computing mao chi ne to make on interesting lhrea-dimen• ional design en 0 black bockgre>und.

Courtesy Col.nes" Corp. of Amorica

The bodies of the humorous lillie dogs in this design are mode from eetucl swotches of carpet. ing. The hood and ears are piece. of drapery fabric held in place with Q map pin that also serve. 0, on eye. The coarse texture of each sweteh stcnds out again.t the plain smeeth beck- 9roIJ nd. The co,t sbodcws add so the three· di mensionc I effect.

Courtesy M. FI.~

......... _"""'" ---

--""" .....

. ,. .... -

--...;....I!

",_, ~ .. "I'!I""'"

:'!;!~~

Blocks of wood with different texture. make a logical (ollage for an art motorial, firm showing il. ,a mples to wccdecrver s.

34

1he Gu\tar Re'lleW

1JS

Humor in design

Humor can often be just as valuable in designing a layout as it is in our everyday lives. To be amusing, a drawing doesn't have to be an outright cartoon - but injecting a humorous note can add impact to a strong design. This will often get a response from an audience which would not react to a serious approach. The layout does not have to laugh out loud - sometimes just the subtle feeling of a smile will catch the viewer's interest.

The free drawing above is the cover design for a music magazine called The Guitar Review. The intention was to be light and gay, without trying for a belly laugh.

Here, a loose brush line draws the girl's face and neck in a vase form, directly on a blank sheet of ruled music paper. The informal technique used [or the head is in strong contrast [Q the

Courrew The Gulter Review

mechanical uniformity of the horizontal lines in the background.

The gray shape of the lute standing on end at the left was printed in red. It acts as a Iorm of shadow on the face. The Bowers in the vase serve at tbe same time as hair - if you wish to view it that way.

All of the designs on these two pages lend themselves to humorous interpretations. You can readily see that i[ the illustrations and the designs had been done in a realistic .manner, they would have been ridiculous. But the humorous note per· mits the artist many liberties in design which he could not take with a Iiteral interpretation. Note how every example on the next page is directly related to the advertiser's problem of communicating. his message clearly to his a udience.

(HYI: 1'0CI'III: IiliiOKn A un rr, I~" ~~dIa1tw11U""'l&in.I:"'''''''

• ~ III ntl CMAU IIiUIHHA1TAH UMII: • .Ii'..., ... ,~..,._.,__.....~

Bo nk odvorl;,emenl

COII!le!~ C.hkego lTibllne

3S

mote ideas to, nomebu\\detS

Billboard lor Chicago Sunday Tribune

CourtC.1Y Life Ma.gazine

Billboard for life mag".jne

Courtesy Cnurch Engli,n Shoe.

~~ew;~ «iflVie CHURCH'S -;Aoe5

Shoe advertisement

Ccvrtesv Grephla Pr""

Movie poster

CourtC5Y Vintago Books, Inc .•

TheNATIJRAL lDSlI'0RY oINONSENSE

by BERCEN EVANS

r J i.

Il<>ak jcekut

Kool dgarollos billboard

Covrtcsv The Ob •• rver, lid.

Posler

Poster

36

.,~--""--'--

~-.-~-----,---

_..._ .. __ ...... _-

-~---.----

Ccvrtesv Simon and Schuster, lnc,

Ccurtcsv Random House, Inc,

Courtesy Herman Miller furnifure Co.

Courtesy Container Corp. of AmeriGO

CourlelY prjnl Magazine

Here we show you severe! prectice! applications 01 Ihe besle principles 01 layout and design introduced to you in this lesson. Compore each layout with the diagram next to it and notice how clo.ely the fundamentcl formulas have been adhered to. You ccn toke many liberties in the construction of a design a. long a. you base it on Q sound foundation and system.

FAMOUS ARTISTS COURSE Student work tes'son 18

Princ.iples of' experimentaJ. design

HOW oro PRACTICE .AND PREPARE FOR THIS LESSON

This lesson demonstrates the_ value of simplicity and shows you how to reduce complicated subje ct.s to essentials. It also shows )'.Qu the value of experimenting Yith various techniques and points out basf,c arrangements you can use as a start1ngpoint for any design 6r layout.

As you read tlirougb this lesson ana study the desf.gna in 1't, pay parttculal'attention to the sizes, shapes and pOSitiOns of the element~

'tii thin the page or design space. Notic,e, that th~se elementrs are a certain~size) no bigger, no smaller - - and 'they are earefully placed in the best position. Keep in mind that aJ.though many of these design examples appear eXtremely simple --they are not. Each one has been done and redone 'With a critical eye toward the best selection or Use of ea~h element. Just ~6 mov" ing a hand oI;Le-quarter of EIll inch awa:y from the bogy may ~ean the difference between a clear, convincins gesture and coni'usion In a f'.!gUre drawing, so. may an eqUAlJ..y ,emall adJustment In a design mean the 'difference between beauty Bild mediocrity.

Here, are some. specific I;ltudy and -pract.Lce suggest10ns which 'Will help you get the most from. 'this design lesson:

1. Cut 'out of black, gray or colored paper some simple shapes similar to those on page 7'. Try to creabe balanced and interesting designs by moving these shapes around within different space s , some verti cal, some horj,_zonta.1. Concentrate on t~e effect th~y create in combinations. Eacp time you move them, study them and ask-: J:s it interesting,? DOes it ha"9'e movement'? Is it too bare,? Too crdwded? Monotonously spaced? Are all the elements too much the same size or shape?

2. Make a number of simple color designS' which include effective use of' blaclt as demonstrated on pages 14 and 15. Thej'" can be tor P9sters or the coverS of paperback books or catalogs.

3. Select some compLicated plct~s or designs and reduce them to simple, bold designs as shawn in 'the demonstrations on pages 16 through ,21.

4. Try out, combilla.tlons of techniqUes 'ih a single design like the examples on pages 24 'and' 25, 28, 29 and 30. Make' som.e. co11ages out of various materials .such as, those suggested on pages 26 and 27.

'!'HE ASSIGNMENTS XOU ARE To SEND IN FOR CRITICISM

ASSIGNMEN'I' 1. Make four different designs us-

ins any fotli' of the eight basic arrangements sl1ci'lro On page 2. Your s.ubject is the season of spring. Choose an element or elements that say "spr Lng " quickly and clearly. These elements may be diffe:r;ent for each pi.ct-u:ce, as long as they are appropriate for spring. You may do these in color or in black and'white. Use any meditnn or technique you wish.

If you choose to do a cOllage, make it a twodimensional collage that is suitable for mai~ing. Be sure tl:).at each part of it is firmly attached to YOUi:' mounting or illustration board. Do not send in any three-dimensional collgges for ei.ther Assignment 1 or 2.

Write the name of the bas~c arrangement beneath each design -- for exatIl.l>.le, centered, vertical, diagonal,etc. Page 36 shows you how these basic designs can be USed for a variety of SUbjects. Don't feel that your design must cortespond exactlY or rigidly to the basic designs

shOwn on page 2. --

What we 'Want to see is a ~esign that has a predo~~~ntly horizontal or vertical or centered

:feeling. Look at the e:iamples on page 36 and give particular attention and thoug~~ to the ~ast sentence in the· caption.

Make each design about 4 ·x 5 inches and do them on one piece of II x l4-inchillustration board.

Mark thiS" bear-d --. :ASS1GNMENT1.

.ASSIGNMENT 2. Make a design that symbolizes one of the following subjects:

Gardening .Fishing

Sports' car raCi'I1g Sailing

Home buildJ.ng

Rail transportation

Make yoUr design 8 x 12 :inches (ei'ther horizontal Or vertical). You may do it i,ri any technique you Yish. If it is a collage, be sure the f~njshed,art is suitabl~ for mailing.

W:r:l,.t~ the nam.e of your subject 'under your design.

( o"l{er_l please)

'.

Student work--- leSson 18

Before .doing this assf.gnment , oboe sure you have researched the problem thoroUghly. The elements you choose for ,:your design .should above all be strong, qUickly recognizable symbols o~f the subject. Take advantage of all o'f your picture space to get the idea of your design over cle~ly and force£ulJ..y. Remember the value of simplicity -- don't put so many thihgs in the design that they complicate or c;Onfuse it. Do this On a piece of II x l4-inCh illustratiOn board,

In c_riticizing your work, we ¥ill be part"1.cu..,.· iaxiy intere"ste.d in: '

--Your understanding'of the basic principles shown on, page 2.

--Your ability ~o redu~e a 'realistic sUbject to the essentials of a.design. ·_-Your use 6feffective and interesting techniques.

Mark this board -- ASSIGNMENT '2.

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IMPoRTANT: Be sure to letter your name-, address. and student n~b;r neatly at the' lower .ieft-:hand. 'corner of eag.h-;assignmen:t. In the lower r-igl::lt corner, place the rlesson number an~: assigDJllent number. '

'YO\ll"' Leasoa cartOh should cOntaiil:

Cbec.k

,be-fore mailing

Assigrmi~nt 1 Assignment 2

1 Return shipp-ihg label rfil,l~d out completely'

Mail tllis carton t.o:

FAMOUS ARTISTS COURSE, WESTPORT, CQNN.

C:..41B-A