Week 6 PRINCIPLES OF DESIGN

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PRINCIPLES OF

DESIGN

BY: CLARIZE
MELVI S. CERIA
The elements and principles of art and design are the foundation
of the language we use to talk about art.

The elements of art are the visual tools that the artist uses to
create a composition. These are line, shape, color, value, form,
texture, and space.

The principles of art represent how the artist uses the elements
of art to create an effect and to help convey the artist's intent.
The principles of art and design are balance, contrast, emphasis,
movement, pattern, rhythm, and unity/variety. The use of these
principles can help determine whether a painting is successful,
and whether or not the painting is finished.
ELEMENTS OF ART
PRINCIPLES OF ART
RULE OF THIRDS

The rule of thirds dictates that if you divide any composition into
thirds, vertically and horizontally, and then place the key elements of
your image along these lines or at the junctions of them, the
arrangement achieved will be more interesting, pleasing and
dynamic.

This rule is used frequently by photographers, but also painters and


artists, who use the rule of thirds mostly for landscapes. However, it
also works for a variety of other subject matter including still lifes,
figures and even portraits.

https://www.youtube.com/watch?v=7v3wt__ZHWQ&list=PPSV
READING THE
IMAGE
The Basic Semiotic Plane
Semiotics is concerned with meaning; how representation, in the
broad sense (language, images, objects) generates meanings or the
processes by which we comprehend or attribute meaning. For visual
images, or visual and material culture more generally, semiotics is
an inquiry that is wider than the study of symbolism and the use of
semiotic analysis challenges concepts such as naturalism and
realism (the notion that images or objects can objectively depict
something) and intentionality (the notion that the meaning of images
or objects is produced by the person who created it).

-Brian Curtin, PhD


cont.

Semiotics is the study of signs and signification. According


to Emberto Eco, “Semiotics is concerned with everything
that can be taken as a sign.”

Sign consist of - “signifier” or its material/physical aspect,


“signified” or non-material aspect as concept and value
The Iconic Plane

This has to do with the particular features, aspects, and


qualities of the image which are the signifiers.

The iconic plane includes the choice of the subject which may
bear social and political implications.
Contextual Plane
In Contextual Plane, you put the work in context and its relationship to
society. It is an advantage if the artist/ viewer has a knowledge of
society’s history and its economic, political and cultural conditions,
national and world art and literatures, mythologies, philosophies and
different cultures and world views. Here, you come from the fundamental
semiotic and iconic planes, from which you can obtain awareness and
perspectives into the historical and social sense of original artwork. The
research will be re-situated from its context and the full human and social
consequences might well show. The audience needs to draw the
discussion between art and society. Art derives its creativity and power
from their social environment, being a cultural force and the impetus for
transformation.
The Old Guitarist
Artist: Pablo Picasso
Year: 1903-1904
The Old Guitarist is an oil painting by Pablo Picasso, which he created
in late 1903 and early 1904. It depicts an elderly musician, a haggard
man with threadbare clothing, who is hunched over his guitar while
playing in the streets of Barcelona, Spain. It is on display at the
Art Institute of Chicago as part of the
Helen Birch Bartlett Memorial Collection.

At the time of The Old Guitarist's creation, Modernism, Impressionism


, Post-Impressionism, and Symbolism had greatly influenced Picasso's
style. Furthermore, El Greco, Picasso's poor standard of living, and the
suicide of a dear friend influenced Picasso's style at the time which
came to be known as his Blue Period. Several x-rays, infrared images
and examinations by curators revealed three different figures hidden
behind the old guitarist.
LET’S READ THE
IMAGE USING THE
PLANES IN ART
The iconic plane refers to the visual elements of the painting, such
as the figures, objects, and composition. In "The Old Guitarist,"
the iconic plane includes the figure of the guitarist, the guitar he is
playing, and the overall composition of the painting, which
features a single figure in the center of the canvas.

The contextual plane refers to the historical and cultural context in


which the painting was created. "The Old Guitarist" was painted in
1903, during a period of poverty and social upheaval in Spain. The
painting may be seen as reflecting the struggles and hardships of
the time, as well as the resilience and determination of the people.
The semiotic plane refers to the meaning of the signs
and symbols in the painting. In "The Old Guitarist," the
figure of the guitarist and the guitar he is playing may
be seen as symbols of the enduring power of music and
the human spirit. The hunched posture of the figure may
be seen as a sign of his struggles and hardships, while
the act of playing the guitar may be seen as a sign of
hope and resilience.
Hymen, oh Hyménée!
Artist: Juan Luna
Year: 1886-1887
The Quest and Discovery for “The Holy Grail”

Jaime Ponce de Leon, auctioneer, art expert, and founder of


the esteemed Leon Gallery,
described the historical significance of the painting, “Paris was
the ground zero of art. Luna also won an award, but that was
in Madrid [for the “Spoliarium”], and Madrid was the—you
would call it provincial, or you know in simpler terms—
Palarong Pambansa. And this painting [“Hymen, oh
Hyménée!”] won in Paris, which was like… the Olympics of
art. So this put him in the pantheon of the greatest artists of the
world.”
It was only in the 1980s that the painting reemerged when Filipino
collector Dr. Eleuterio Pascual came across the painting in the home of
an aristocratic family in Europe, who purchased the painting in the
1920s. Several collectors came and went, attempting to buy the
painting to bring it back to its homeland, all to no avail.

It was only in 2014 that Leon Gallery owner Jaime Ponce de Leon
came across the painting after a decade-long search in Europe. His
snooping was scrupulous. Name by name, de Leon went through a
book of the nobility in Spain and France, contacting each and every
person in the book. Until he got a call that he had to be at the doorstep
of a certain home in Spain at 10 AM. He traveled to the aristocratic
home and as he was ushered into the drawing room, he stood before the
long-lost Luna.
Ayala Museum’s exhibition, “Splendor: Juan Luna, Painter as Hero”
curated by scenographer Gino Gonzales, explores the iconic painting
through three themes: the world in 1889, Juan Luna as a heroic painter,
and the intricate symbolism of the Roman wedding feast depicted in the
artwork — a rendition in dreamlike pastels with figures of Romans, who
stand across grand columns on a marbled floor strewn with flowers.

The exhibition features a catalog of essays written by historian Ambeth


R. Ocampo, film director Martin Arnaldo, and curators Ditas Samson,
Tenten Mina, and Jei Ente. While a documentary film by Martin Arnaldo
re-tells the exciting journey of recovering the artwork, and the
circumstances of the Ilustrado diaspora, relatable to Filipinos working
abroad today.

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