Preface |
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xviii | |
About the Author |
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xxiii | |
Acknowledgments |
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xxiv | |
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xxiv | |
Introduction: Art and Design Today |
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xxv | |
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Part 1 Process and Principles |
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2 | (62) |
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Chapter 1 Thinking, Meaning, and Creativity |
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4 | (20) |
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5 | (1) |
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6 | (1) |
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Seven Principles of Creative Thinking |
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6 | (2) |
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Approaches to Thinking Creatively |
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8 | (1) |
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9 | (1) |
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9 | (1) |
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10 | (1) |
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10 | (1) |
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New Perspectives: David Hammons's Basketball Drawings |
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11 | (2) |
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13 | (1) |
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14 | (1) |
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Modernism and Postmodernism |
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15 | (1) |
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Postmodernism and Contemporary Contexts |
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16 | (1) |
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Thinking Critically: A Framework |
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17 | (1) |
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17 | (3) |
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Global Connections > Benin Sculpture |
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20 | (1) |
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20 | (1) |
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21 | (1) |
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22 | (1) |
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22 | (1) |
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23 | (1) |
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Chapter 2 The Design Process |
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24 | (20) |
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25 | (1) |
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26 | (1) |
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27 | (1) |
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27 | (1) |
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Investigate the Person, Object, or Topic |
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27 | (1) |
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28 | (1) |
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28 | (1) |
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28 | (1) |
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28 | (1) |
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New Perspectives: Frank Gehry's Guggenheim Museum Bilbao |
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29 | (1) |
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30 | (1) |
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30 | (1) |
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30 | (1) |
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30 | (1) |
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31 | (1) |
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31 | (1) |
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31 | (1) |
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31 | (1) |
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31 | (1) |
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Drawing and Visual Ideation |
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32 | (3) |
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Creating and Revising Your Work |
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35 | (1) |
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Evaluating Your Work: The Critique |
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36 | (1) |
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Ground Rules for Group Critiques |
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36 | (1) |
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Global Connections > The Expanding Thought Process of Shahzia Sikander |
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36 | (1) |
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Approaches to the Critique |
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37 | (1) |
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37 | (1) |
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38 | (1) |
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39 | (1) |
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40 | (1) |
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41 | (1) |
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41 | (2) |
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43 | (1) |
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Chapter 3 Perception, Composition, and the Principles of Design |
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44 | (20) |
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45 | (1) |
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46 | (1) |
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46 | (1) |
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Visual and Conceptual Perception |
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47 | (1) |
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Starting Points for Composition |
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48 | (1) |
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48 | (1) |
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Open and Closed Composition |
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48 | (1) |
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49 | (1) |
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Concept and Point of View |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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53 | (1) |
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Global Connections > Symmetry and Meaning in Native American and Tibetan Art |
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54 | (1) |
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55 | (1) |
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55 | (1) |
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56 | (1) |
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56 | (1) |
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56 | (1) |
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57 | (1) |
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57 | (1) |
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57 | (1) |
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57 | (1) |
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New Perspectives: Katharina Grosse's Cincy |
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58 | (1) |
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58 | (3) |
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61 | (1) |
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61 | (2) |
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63 | (1) |
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Part 2 The Elements of Two-Dimensional Design |
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64 | (86) |
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66 | (16) |
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67 | (1) |
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68 | (1) |
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69 | (1) |
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69 | (1) |
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69 | (1) |
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69 | (1) |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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72 | (1) |
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73 | (1) |
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73 | (1) |
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73 | (1) |
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73 | (1) |
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73 | (1) |
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Global Connections > Calligraphy |
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74 | (1) |
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75 | (1) |
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New Perspectives: Jochem Hendricks's Eye-Drawings |
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76 | (2) |
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78 | (1) |
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79 | (1) |
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Conveying Symbolic Meaning |
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79 | (1) |
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79 | (1) |
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80 | (1) |
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81 | (1) |
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82 | (14) |
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83 | (1) |
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84 | (1) |
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84 | (1) |
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84 | (1) |
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New Perspectives: Kara Walker's Silhouettes |
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85 | (1) |
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85 | (1) |
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85 | (1) |
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86 | (1) |
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Nonrepresentational Shapes |
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87 | (1) |
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87 | (1) |
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88 | (1) |
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Positive and Negative Shapes |
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88 | (1) |
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Actual and Implied Shapes |
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89 | (1) |
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90 | (1) |
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90 | (2) |
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Conveying Symbolic Meaning |
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92 | (1) |
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Global Connections > National Symbols |
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93 | (1) |
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94 | (1) |
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94 | (1) |
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95 | (1) |
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96 | (14) |
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97 | (1) |
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98 | (1) |
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Characteristics of Texture |
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98 | (1) |
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99 | (1) |
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99 | (1) |
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Global Connections > Evocative Textures in Aboriginal Dreamtime Paintings |
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100 | (2) |
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102 | (1) |
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102 | (1) |
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102 | (1) |
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102 | (2) |
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Establishing Depth and Space |
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104 | (1) |
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New Perspectives: Willie Cole's Sunflower |
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104 | (1) |
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105 | (1) |
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Art for the Visually Impaired |
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105 | (1) |
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Type as a Textural Element |
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106 | (1) |
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107 | (1) |
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107 | (2) |
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109 | (1) |
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110 | (12) |
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111 | (1) |
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112 | (1) |
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112 | (1) |
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113 | (1) |
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113 | (1) |
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113 | (1) |
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113 | (1) |
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113 | (1) |
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114 | (1) |
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High Contrast (Chiaroscuro) |
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114 | (1) |
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Global Connections > The Black on Black Pottery of the San Ildefonso Pueblo |
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115 | (1) |
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115 | (1) |
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Open-Value Versus Closed-Value Compositions |
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116 | (1) |
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Establishing Depth and Space |
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116 | (1) |
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117 | (1) |
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Techniques for Creating Value |
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118 | (1) |
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118 | (1) |
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118 | (1) |
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Hatching and Cross-Hatching |
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118 | (1) |
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119 | (1) |
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New Perspectives: Kate Kretz's Grace and Shame |
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119 | (1) |
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120 | (1) |
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120 | (1) |
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121 | (1) |
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122 | (14) |
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123 | (1) |
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124 | (1) |
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124 | (1) |
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124 | (1) |
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125 | (1) |
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125 | (1) |
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126 | (1) |
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126 | (1) |
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126 | (1) |
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127 | (1) |
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127 | (1) |
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128 | (1) |
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128 | (1) |
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128 | (1) |
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128 | (1) |
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128 | (1) |
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Global Connections > Hierarchical Space in Ancient Egyptian Art |
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129 | (2) |
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New Perspectives: Char Davies's Ephemere |
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131 | (1) |
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131 | (1) |
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131 | (1) |
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132 | (1) |
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Relative Size and Proximity |
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132 | (1) |
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132 | (1) |
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133 | (1) |
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Symbolic Use of Space: Maps |
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133 | (1) |
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134 | (1) |
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134 | (1) |
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135 | (1) |
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136 | (14) |
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137 | (1) |
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138 | (1) |
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Characteristics of Motion |
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139 | (1) |
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139 | (1) |
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Nonlinear Formats/Nonnarrative |
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139 | (1) |
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139 | (1) |
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140 | (1) |
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New Perspectives: Douglas Klauba's Project Superpowers |
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140 | (1) |
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141 | (2) |
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143 | (1) |
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143 | (1) |
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144 | (1) |
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144 | (1) |
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144 | (1) |
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145 | (1) |
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Global Connections > Multiple Images and Storytelling in Amos Bad Heart Buffalo's The Battle of Little Big Horn |
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145 | (1) |
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146 | (1) |
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146 | (2) |
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148 | (1) |
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148 | (1) |
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149 | (1) |
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150 | (42) |
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152 | (24) |
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153 | (1) |
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154 | (1) |
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154 | (1) |
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154 | (1) |
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154 | (1) |
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155 | (1) |
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156 | (1) |
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156 | (1) |
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156 | (1) |
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156 | (1) |
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157 | (1) |
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158 | (1) |
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158 | (1) |
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158 | (1) |
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158 | (1) |
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Global Connections > The Artwork of Richmond Ackam |
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159 | (1) |
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160 | (1) |
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160 | (1) |
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160 | (1) |
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160 | (2) |
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162 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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164 | (1) |
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164 | (1) |
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165 | (1) |
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166 | (1) |
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166 | (1) |
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166 | (1) |
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Innate and Learned Responses |
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167 | (1) |
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New Perspectives: Portia Munson's Pink Project |
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168 | (1) |
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Color Psychology and Design |
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168 | (1) |
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169 | (1) |
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169 | (1) |
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170 | (3) |
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173 | (1) |
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174 | (1) |
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174 | (2) |
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176 | (16) |
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177 | (1) |
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178 | (1) |
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Characteristics of Digital Color |
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178 | (1) |
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178 | (1) |
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178 | (1) |
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178 | (1) |
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Digital Color on a Monitor |
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179 | (1) |
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180 | (2) |
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182 | (1) |
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183 | (1) |
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Vector-Based and Raster-Based Programs |
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183 | (2) |
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Global Connections > Typefaces Inspired by African Writing Systems |
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185 | (1) |
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185 | (1) |
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186 | (1) |
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Digital Color Presentation |
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187 | (3) |
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New Perspectives: David Hockney's Fresh Flowers |
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190 | (1) |
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190 | (1) |
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190 | (1) |
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191 | (1) |
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Part 4 Three-Dimensional Design and Beyond |
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192 | (85) |
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Chapter 12 Thinking in Three Dimensions |
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194 | (16) |
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195 | (1) |
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Three-Dimensional Art and Design Defined |
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196 | (1) |
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Characteristics of Three-Dimensional Art and Design |
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196 | (1) |
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197 | (1) |
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Positive and Negative Space |
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197 | (1) |
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198 | (1) |
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Types of Three-Dimensional Art and Design |
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199 | (1) |
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199 | (1) |
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200 | (1) |
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New Perspectives: Tin Ly's Three-Dimensional "Paintings" |
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201 | (1) |
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Permanent and Impermanent Works |
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201 | (1) |
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202 | (1) |
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Using Three Dimensions in Art and Design |
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203 | (1) |
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Global Connections > Temporal Art in Igbo Mbari Figures |
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204 | (2) |
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206 | (1) |
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207 | (1) |
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208 | (1) |
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209 | (1) |
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Chapter 13 Three-Dimensional Design Elements and Principles |
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210 | (20) |
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211 | (1) |
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Perception and Composition |
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212 | (1) |
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Three-Dimensional Design Elements |
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213 | (1) |
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213 | (1) |
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214 | (1) |
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215 | (1) |
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215 | (1) |
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Global Connections > Totem Poles and Memorial Poles |
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216 | (1) |
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Enhancing Dimensionality Using Color |
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216 | (1) |
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216 | (1) |
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217 | (1) |
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217 | (2) |
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Three-Dimensional Design Principles |
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219 | (1) |
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219 | (2) |
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221 | (1) |
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221 | (1) |
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221 | (1) |
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New Perspectives: Eric Fischl's Tumbling Woman |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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223 | (1) |
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224 | (1) |
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224 | (2) |
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226 | (1) |
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227 | (1) |
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227 | (2) |
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229 | (1) |
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Chapter 14 Methods of Construction |
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230 | (18) |
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231 | (1) |
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232 | (1) |
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233 | (1) |
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234 | (1) |
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235 | (1) |
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235 | (2) |
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237 | (1) |
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Plaster, Wax, and Cement Modeling |
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237 | (1) |
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237 | (1) |
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238 | (1) |
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238 | (1) |
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238 | (2) |
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Assemblage and Construction |
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240 | (1) |
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241 | (1) |
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241 | (1) |
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241 | (1) |
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241 | (1) |
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Global Connections > Kongo Power Figures |
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242 | (1) |
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New Perspectives: Mimi Shapiro's One Foot in Reality |
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243 | (1) |
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Digitally Constructed Design |
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244 | (2) |
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246 | (1) |
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246 | (1) |
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247 | (1) |
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Chapter 15 New Forms of Art and Design |
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248 | (14) |
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249 | (1) |
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250 | (1) |
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251 | (2) |
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253 | (1) |
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253 | (1) |
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253 | (3) |
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Global Connections > Native American Mound Builders |
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256 | (1) |
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256 | (1) |
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257 | (1) |
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New Perspectives: Stefan Sagmeister's AIGA Detroit Poster |
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258 | (1) |
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258 | (1) |
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258 | (2) |
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260 | (1) |
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260 | (1) |
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261 | (1) |
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Chapter 16 Four-Dimensional Art and Design |
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262 | (15) |
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263 | (1) |
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Four-Dimensional Art and Design Defined |
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264 | (1) |
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Global Connections > Toshiharu Umeya's Kites |
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265 | (1) |
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Characteristics of Four-Dimensional Art and Design |
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266 | (1) |
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266 | (1) |
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266 | (1) |
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266 | (1) |
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266 | (1) |
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Types of Four-Dimensional Art and Design |
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266 | (1) |
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267 | (1) |
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267 | (1) |
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268 | (1) |
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Using Four Dimensions in Art and Design |
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269 | (1) |
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269 | (1) |
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270 | (1) |
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270 | (1) |
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New Perspectives: Marina Abramovic's The Artist Is Present |
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271 | (1) |
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Digital Art and Video Games |
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272 | (1) |
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273 | (1) |
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Role-Playing Games (RPGs) |
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274 | (1) |
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275 | (1) |
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275 | (1) |
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276 | (1) |
Glossary |
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277 | (8) |
References |
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285 | (1) |
Credits |
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286 | (5) |
Index |
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291 | |