The Art of Fonts

Depending on your product and target audience a skilled graphic designer should be able to grasp both in a creative clever way. This is extremely important, it is the window to your business. The very first thing a consumer may judge your entire business on is the font used in the branding and the graphic design. It must appropriately fit whatever it is you are trying to sell, showcase, represent, or prove.

Famous Self Portaiture

This peice by Jean-Michelle Basquiat was inspired by multiple things,such as artists like Picasso or Pollock, jazz music, and even the herion abuse. Black, being the lack of colour, was used for the strange and quite teriffying figure. Shapes and lines were brilliantely used to create a disturbing portrait. The texture used for the background creates a shady sort of rough, ridged, bumpy background, giving a very upsetting kind of feeling to this particular peice.

After cutting off part of his left ear, wrapping it in newspaper and sending  it to a prostitue named Rachelm, Van Gogh was never seen by  Gauguin, who happened to be the man Vincent had threatened, again. Vincent Van Gogh's extremely well known portrait of himself shows through very monotonious colours the lack of emotion, he seems almost depressed or in a deep state of sadness. Using texture his hat looks fuzzy, while his coat looks wool and thicker. His eyes were painted looking away from the viewer, again showing that sense of distance and lonliness, lack of intimacy.

Space used in art

Giorgio De Chirico, a brilliant artist, truly undertood space and the importance and relevance it had to emotion. From looking at this particular peice I feel drawn towards the two little people off to the left side. Even though they take up such a small portion of the space their presence screams out to me, drawing my eyes towards them and firmly grasping my attention.I get a feeling of lonliness and isolation from these two, and I know that this is because of the space.



THE DUO
Another piece by Giorgio De Chirico. Despite the heart on one of the figure chests you can sense a form of intimacy between the two figures the duo, again not becuase of the heart, but because of the lack of space between the two. Girogio knew space, he knew how tro play with it and get the viewer to feel what he wanted the to feel without even having to use any facila expressions on the figures faces. All he had to do was use space properly and the rest fell into place.



Space

Space.
It has an impact on virtually anything. Functionality, emotions are the two main things that come to mind when I think of the artistic element of space. Different kinds of space are needed for different functions. To play soccer you need greater open (negative) space. Emotion is impacted by space as well. In an empty elevator I tend to feel like I'm being pulled outwards while in a crowded elevator I feel pushed inwards. Sitting alone in an open field looking up into the vast endless sky will give you a different feeling than sitting in a lecture filled with people staring at the same useless information scrawled onto a whiteboard by a tired, unpassionate teacher. Space represents emotion and functionality. Looking at a picture of a little girl standing in the middle of an empty street will give you a different idea and emotion of the story behind the photo than of a little girl standing next to who seem to be her parents at a crowded fair.

VALUE

VALUE

Value is everything.

Value is the cake itself while colour is the icing.

Value is the element using  darkness and lightness 

to reveal surface changes.

Value is not colour, everything can have colour but without value it will not look 3-D. One would not be able to tell the difference between a smooth shiny shape and a rough surface.

One can see that this image of a rose does not have any sharp edges, nor does it have glossy shiny surfaces. One can decipher this by observing the gradual change in value. A sudden shift would indicate a sudden surface change and that it is not a rounded surface and may also reveal a sharp edge.

The above image shows four of the five ways to render values in art. The five ways are cross hatching, parallel hatching, scribbling, shading and stippling. 

Blind Contour





BLIND CONTOUR DRAWING

 

Popularized by Kimon Nicolaïdes in 1941

Involves observing and carefully dawing the contour of an object without lifting up the medium or looking at the page

 

“The reason most people have difficulty drawing realistically is not because of any lack of physical skill or talent but because they have not been trained to really look at what they see.” ---Terry O’Day, the chair of the art department at Pacific University, in Forest Grove, Oregon

 





Basics of Rudimentary and Sophisticated Greek Sculptures

The Archaic Period: 600-480 B.C.E.

The Classical Period: 490-323 B.C.E.

The Hellenistic Period began after the death of Alexander the Great: 323 B.C.E.

Archaic: Very idealized, still, stiff, no emotion, no motion.

Classical: Still idealized , some emotion and motion starting to show

Hellenistic: Dynamic, realistic

 Classical 

Discus Thrower

Idealized but realism is showing

 Classical

Discus Thrower

You can start to see the realism showing in this piece of artwork

 Classical

Aphrodites

Not much emotion but realism is shown

 Hellenistic

Carved around 320 BC

Very realistic and dynamic

Hellenistic

Aphrodites

Incredibly realistic

This statue was considered so life like that men actually were said to have fallen in love with it and have tried to kiss it.