Art Design Basic Principles2

7/23/2019 Art Design Basic Principles2

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Art &

Design

PrinciplesMemahami Elemen dan Prinsip Dasar

dalam Seni Rupa dan Desain



• Globally, this subject: Elements and

Principles o Design !no"n as #asicDesign course, and "as taught in the$oundation classes o any Art & DesignSchool all o%er the "orld

• Di dalam negeri, dahulu di!enalisebagai 'irmana

• Subye! pembelajaran seni dan desain

ini pertama !ali di(ormal(!an padatahun )*)*, dengan didiri!annyase!olah seni #auhaus di +erman



Art & Design Principles

• Elements o A&D -nsur(unsurdasar Desain:

•Point .titi!/ a!a dot, spot, blob•0ine .garis/

•Plane .bidang/

•Shape .le!u!/ 1 $orm .bentu!/

•2olour ."arna/





• Principles o A&D Prinsip(

prinsip Desain:•-nity

•3armony•Rhythm

•4ariation

•#alance



• Point: Dot, Spot, Dab, #lob

• 0ine: Straight %s 2ur%eActual %s 5mplied %s Psychic

• Plane .#idang/

• Shape .0e!u!/ 6 Raut

• 4olume .5si/

• $orm .bentu!/ 6 Rupa



#asic 4isual 2oncept or Designer

• 5n 4isual studies, point, line, and plane arethe most basic and primary o all the%isual elements .p 78/

• #oth 8D & 9D compositions and orms arecreated by combining the SUBJECTMATTER, MEANING, or INTENT "ithMATERIALS and MEDIA the result is a

tangible fgure or FORM• During the ;generation< o a $=RM, "e

produce meaningul art orms: the

artiat! " #e!ign



Plane .#idang/

• A Plane is de>ne in Euclediangeometry as ormless,

representing an in>nite e?panseo @at surace area that stretchesin all directions

• A plane also de>ned as a t"o(dimensional e?pression o length.or height/ and "idth .p)B/



Shape .0e!u!/

• Shape is the identiying characteristic o aplane and is determined by thecon>guration o contour line or boundary o

a plane• Shape and $orm are inseparable, and oten

used interchangeably

• Shape is a more precise term

• 5n arts, $orm in broadest sense means todescribe the total %isual organiCation o a"or!, called it Design, or composition



$orm .#entu!/

• he conceptual or thin!ing process indesigning is a contestation bet"een: $orm and2ontent

• 2ontent is the meaning or signi>cance

message o an art"or! or design• $orm is the physical maniestation o an idea,

as opposed to the content, "hich reers to theidea itsel

• $orm reers to the apparent solidity or three(dimensionality o a shape $orm is thecomplete state o the "or!

• Shape and $orm are inseparable



4olume

• 4olume, in conceptual terms, isdescribed as a plane in motion in adirection other than its inherent

direction other than its inherentdirection

• 4olume is applied to the three

dimensional eui%alent



Space Depth .illusi%e/

• Penguasaan ruang .space/

• !edalaman .depth/

• arah dan gera! .directionFmotion/• !eseimbangan .balance/

• !esinambungan.continuation/ dan

!eterpaduan.integration/



$orm 'on =bjecti%e

• Shape associati%e : Abstraction.essence/

• Pareidolia 4S Patternicity

• Pareidolia : a psychologicalphenomenon in%ol%ing a %ague andrandom stimulus being percei%ed asmeaningul in airly e%eryday objectsor sounds

• Patternicity: the tendency to >nd

meaningul patterns in meaningless













An Angel or a Superman



EH-RE

• e?ture is the tactile grain o suracesand substances

• e?ture is both physical and %irtual

• Physical .tactile/ te?ture aIect ho" iteels to the hand, but also aIect ho"it loo!s

• 4irtual or 4isual te?ture are notphysically e?perience by the %ie"er,but e?ist as optical eIect and

representation









2ontinuation ( 5ntegration

• emu!an dan !umpul!an bermacam(macamte!stur tactile dari berbagai material,seperti !ain, !ertas, dan pelat metal .tipis/

• emu!an dan !umpul!an %ariasi te!stur

visual dari berbagai media dan tempat,misalnya permu!aan batu, te!s & oto darimajalah, "arna dan gambar dari bu!u

• Gunting dalam le!u! yang sederhana bai!geometri!, organi! atau abstra!

• 0e!at!an pada permu!aan multiple?ply"ood









S"$hie Taeuber%Ar$&'ara!"l!& ()*+



'AUL ,LEE -(+.)%()/01



2ENRI MATISSE -(+3)4 ()5/1



0AJERS

• 0ayers are simultaneous, o%erlappingcomponents o an image orseuence

• 0ayers allo" designer to treat theimage as a collection o assets, adatabase o possibilities

• 0ayers, al"ays embedded in theprocess o mechanical reproduction,ha%e become intuiti%e and uni%ersal

• hey are crucial to ho" "e both read



$R=M 05'ES = S3APE = 4=0-ME

• Secara !onseptual, sebuah garis adalah jeja!

yang dibuat oleh perpindahan sebuah titi!.no!tah/ dari dari satu posisi !e posisilainnya

• Garis dari tipe gera!nya ada horiContal,

%erti!al dan diagonal• Lualitas sebuah garis dilihat !etebalannya,

dan !e!asarannya

•Garis lurus .rectilinear/ membentu! le!u!.shape/ geometris dan garis !ur%a.cur%ilinear/ membentu! le!u! organis

• Garis dapat pula memberi sugesti gera!an

dan juga %olume dan mencipta!an ilusite!stur im lied %isual te?ture

$R=M R3J3M = #A0A'2E =



$R=M R3J3M = #A0A'2E =3ARM='J

• 5rama atau ritme .rhythm/ Stru!tur ritmis

dalam desain seni %isual biasanya diurai!andengan meminjam !osa!ata dari dunia musi!

• Renta! .irama/ !ehidupan seseorangmemengaruhi dirinya secara emosional,

demi!ian pula dapat terjadi pada !omposisiritmis sebuah desain

• 3ubungan %isual dan musi! biasanya berupaanalogi, asosiasi, atau synaesthesia(blending-senses), ada pula yangmenyebutnya empati !inesteti!

• Ritme terjadi !eti!a ada elemen tertentu yangmengalami pengulangan .repetisi/ bai!dengan tanpa perubahan maupun dengan





Julie Mehretu









Sarah Sze







Judy Pfaff



Judy Pfaff



Keith Haring

























$ran! = Gehry Guggenheim Museum, #ilbao, Spain.)**K/



Antonio Gaudi 2asa Mila Apartment 3ouse, 2atalonia, Spain .)*)*K/









=tto Steinert Pedestrian<s $oot .)*/ Gelatin sil%er print















5ndah #agus #enar



5ndah #agus #enar#eauty Good rue

• Leindahan .seseorang/ menimbul!anrasa su!a .desire/ mengarahpada2inta .lo%e/

• Leindahan 6 Lecanti!an 6Letampanan6 di(identi!!an denganLebai!an

• P0A= .B87 9B #2/: Seni 2umaimitasi .mimesis/ dari Realitas yangsejati

• Alamiah 6 Lodrati 6 REA05AS 6



• Le(Seni(an sesuatu !arya ada di;dunia ideal< 6 Realitas yang

sebenarnya

• Plato mempertanya!an: Dapat!ah

dengan Seni, !ita mencapaiLebenaran

Qhe rue Lno"ledge o Anything is ALno"ledge o 5ts 5deal $orm .idea/O

Dunia 5dea(idea Plato



• Plato tida! bicara mengenaiLeindahan dari sudut >si!al, tapi

dalam hubungan Leindahan yangmemba"a pada Lebenaran

• Sesuatu yang ideal adalah yangterindah !arena mengarah !epada!ebenaran

• #entu! pemahaman yang lebih tinggitergantung !epada ;science o

measure< .m%ns&ra).



• Measure & Proportion di identi!an dengan

• #eauty & 4irtue .Lebenaran, !ejujuran/

• Proportion Symmetria bu!an simetri!al

• Measure bagi Plato bu!an hanya proses atauQthe result o determining the ratio o aphysical uantityO

• Symmentria berma!na 2ommensurability





h S C i h h !



• he SUBJECT i! the what o a "or! o artTre'resentation o 'eo'le 'laces things themes

'rocesses ideas $or most o the history o art, the

subject is identi>able or at least re@ects some sort o%isual e?perience

• 5 subject matter is the "hat in a "or! o art, FORM

i! the how 5t is the general structure and o%erallorganiCation o a composition 5t signi>es the t"talit; o technical means and materials em'loyed by theartist, as "ell as all o the visual strategies and

'ictorial devices used to e9$re!! and"66uniate

• CONTENT comes close to being the why o a "or!o art in that it includes "hat "e might consider the

reasons behind its appearanceTthe %isual elements,



• $ormalist approaches:

– he ormal aspects o a painting include

line< t"ne< !ha$e< te9ture an# "l"r& – ingle 'oint 'ers'ective and the illusion

o space and recession on a t"o(dimensional surace pro%ide

#e$th

– hen these attributes are combinedthey pro%ide %arious compositionaleIects such as balane< rh;th6 and

har6"n;&



– he let(hand >gures are linear and almost



he let(hand >gures are linear and almostsculptural in presentation

– onal 7alue! .the contrast bet"een light and

shade/ are used to model and de>ne the>gures ( both those in the centre o thecomposition and those to the right

– he uses o tonal %ariation to highlight or

aent the composition<s dramatic ocus,encouraging the eye to 6"7e rom let toright

– Although the central grouping o >gures

initially loo!s asymmetrical, the o%erallcomposition is balane# he tri" to the let is"unter$"i!e# b; the three e6ale >guresin the right oreground, one o "hom en%elopsthe t"o children

– Stron intersectin %ertical, dia onal and









I,,O TANA,A 'ihon #uyo)*7) =Iset lithographB)W8 ? 879WBQ .)88 ? K9 cm/

he Museum o ModernArt, 'e" Jor!

• S"iss 5nternational ypograhic Style



• S"iss 5nternational ypograhic Style)*an

• 3E04E52A• 0ogo Design

• 2orporate 5dentity

• Graphic Standard Manual

• 0ayout & Grids: #oo!s, MagaCine,eb(site, E?hibition, Architecture,

o"n(planning, etc



• +oseph Muller #roc!man

.)*)B )**N/















• +onathan #arnbroo!.)*NN/











3o" to ma!e design "or!s




• Design necessitates that one element#"6inate the other in conte?t ocumulati%e perception called %isualge!talt

• 2hoose images, pictures, other %isual signsthat tell the story -se "l"r?! t"ne and7alue to sho" "hat is important

• Moti%ate the %ie"er by arranging elementsin a logical hierarh; E?ploit the reader<snatural habits




• he purpose o design is consciously

not to >ll up all the space• 2ontrol the tension and rela?ation o

the %isual structure

• =rganiCe elements so all parts >ttogether to ma!e a uni>ed "holedesign

• $ind design unity in the elements<commonalities .a sharedcharacteristics/




• hin! about shape and space

• Design is the arrangement o shapesE?ercise by mentally setting aside themeaning o headlines, copy(te?ts,images, other elements and treat them

as i they "ere purely shapes• $eel the shape simply as shape not as a

description o ideas

• Shapes e?ist in the realm o >gure andground

• Designer tas! is to bring chaos to order




• EIecti%e %isual communication

means to balance the relationships o6eaning, and the relationships o"r6



I N @ E S T I G A T I O N E A M I N A T I O N

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CONTENT

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CONTENT

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CONTET

@i!ual'ere$ti"n

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De!ain #an 'er!e$!i @i!ual



• Dalam membuat sebuah desain,

4isualisasi dan Lomposisidi!endali!an oleh Lonsep desain

• Lonsep menca!upi ma!sud dan

tujuan dari desain yang dibuat,.objecti%es/

• !epada siapa desain dibuat,

.audiences/• dan !egunaan .unction/ serta

manaatnya .useullness/

Desain dan Persepsi 4isual



• Dan yang terpenting desain a!an

di"ujud!an dalam bentu! .$=RM/yang bagaimana agar dapatdipersepsi oleh !halaya! yang dituju

• Leberhasilan sebuah desain terleta!pada !emampuan menguasai;Persepsi 4isual<

• Mencipta!an dan mencerap rupadan bentu! dalam tipogra> .te?ts/dan citraan .5mages/





































$orm sebagai5dea ( Gagasan



HDe!ainHKt. Benda

Kt. Kerja

4isual

Subject Matter 2ontentApa Pesan yang mau di!omuni!asi!an dengan

Desain

Placement 2onte?tDimana Desain ditempat!an

dalam ruang & "a!tu tertentu

ujuan Desain dibuat

$orm

Apa yang

Desainer4isualisasi!an

#agaimana 4isuala!an di(persepsi

orang

#agaimana PenataanLomposisi 4isualnya

#agaimana orangmengerti

Desainnya

Seperti Apa & #agaimana Pesan

Art Design Basic Principles2

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