Tag: Design

For the audio portion, check out Sandy’s page or iTunes

Rhythm is a Principle of Design

Rhythm is a design principle based on repetition (Pentak & Lauer, pg. 100)

Definitions:

1. “Intervals at which related element occur throughout a piece of art” (Liz Berg handout entitled Principles of Design from “Design the Abstract Quilt” class)
2. Visual rhythm is created when elements repeat in a sequence in a design. The repeated elements are often shape or color motifs…rather than simply repeating the elements to create a pattern. They act as a series of beats that ‘speak’ to one another.” (Aimone, Design! A lively guide to design basics for artists & craftspeople, pg. 112-113)
3. “..rhythm involves a clear repetition of elements that are the same or only slightly modified.”  (Pentak & Lauer, pg. 100)

• • Vertical slats on the back of a chair

1. Rhythm is “the repetition of a regular pattern, or a harmonious sequence or correlation of colors or elements.” (Art+Quilt by Lyric Kinard, pg. 80)
2. “Visual rhythm involves the movement of our eye from one element to the next in a regular pattern.” (Art+Quilt, pg. 80)
3. “In visual art, refers to the movement of the viewer’s eye across recurrent motifs.” (The Quilter’s Book of Design, 2d ed, pg. 155)

“…repetition of an element creates visual rhythm.” (The Quilter’s Book of Design, 2d ed, pg.15)

The following relate back to unity, so be sure to review those notes and the podcast before you move to Rhythm

Types of Rhythm

Alternating Rhythm (The Quilter’s Book of Design, 2d ed, pg. 16)

• “…the variation of a repeated pattern between two or more elements.” (Art+Quilt, pg. 80)
  • Example: the pattern of night and day (Art+Quilt, pg. 80)
  • Example: “…a chorus repeated between different verses of a song.” (Art+Quilt, pg. 80)
• “…uses patterns that move back and forth.”  (The Quilter’s Book of Design, 2d ed, pg. 16)
  • Light and dark
  • thick and thin
  • hot and cold
  • tall and short
• “A familiar example of this idea can be seen in a building with columns, such as a Greek Temple. The repeating pattern of light columns against darker negative spaces is clearly an alternating rhythm.” (Pentak & Lauer, pg. 104)

Progressive Rhythm (The Quilter’s Book of Design, 2d ed, pg.16)

• “…uses the repetition of an element to deliberately move the viewer’s eye in a specific direction. It is a pattern in which the viewer can see a sequence that is predictable. (The Quilter’s Book of Design, 2d ed, pg. 16)
• “In visual art, a progressive rhythm might consist of any repeated element growing or shrinking in size, shape, or number.” (Art+Quilt, pg. 80)
  • Example: “The expanding rays of a Mariner’s compass block as it reaches outward.” (Art+Quilt, pg. 80)
• “A progressive rhythm is often found in nature when the size or shape of something gradually increases or descreases.” (Art+Quilt, pg. 80)
  • concentric layers of tree rings (Art+Quilt, pg. 80)
  • a musical theme that “grows in complexity, volume, and instrumentation with repetition.” (Art+Quilt, pg. 80)
  • “gradually diminishing pattern of ocean waves as your eye moves toward the horizon” (Art+Quilt, pg. 80)
• Commonplace in nature, but not always readily apparent (Pentak & Lauer, pg. 107)
  • Cut in half, the inside of an artichoke shows a growth pattern. (Pentak & Lauer, pg. 107)
  • chambered nautilus cut in cross section. (Pentak & Lauer, pg. 107)

Staccato Rhythm

• “abrupt changes with dynamic contrast. The reccurrence of these dark squares establishes a visual rhythm. The irregular spacing of the small squares causes the pattern (and rhythm) to be lively rather than monotonous.” (Pentak & Lauer, pg. 100)
  • Piet Mondrian painting called Broadway Boogie-Woogie  expresses the “on/off patterns of Broadway’s neon landscape but also the rhythmic sounds of 1940s instrumental blues music.” (Pentak & Lauer, pg. 102)
• Staccato rhythm can, sometimes, be exciting if unsettling. (Pentak & Lauer, pg. 100)

Static Rhythm

• “…has no variety and can be monotonous if carried throughout a composition… If there is no variety in the fabrics chosen, the quilt will have static rhythm, …no movement.” (The Quilter’s Book of Design, 2d ed, pg. 15)
• “Static rhythm is only apparent; for in every seeming case, the rhythm really pervades the succession of acts of attention to the elements rather than the elements themselves; a colonnade, for example, is rhythmical only when the attention moves from one column to another.” (http://www.authorama.com/principles-of-aesthetics-6.html) – I think this is why we like those red and white Sawtooth Star quilts.

Syncopated Rhythm

• “…gives surprising emphasis to a beat that is normally weak and adds unexpected interest.” (Art+Quilt, pg. 80)
• “A syncopation or syncopated rhythm is any rhythm that puts an emphasis on a beat, or a subdivision of a beat, that is not usually emphasized…Syncopation is one way to liven things up. The music can suddenly emphasize the weaker beats of the measure, or it can even emphasize notes that are not on the beat at all.” (Connexions http://cnx.org/content/m11644/latest/)

Visual Rhythm

• “Repetition is another way to create unity in a quilt design. The repetition of an element in a composition can tie the whole together, creating a relationship among the elements.” (The Quilter’s Book of Design, 2d ed, pg.15)
  • “…repetition of an element creates visual rhythm.” (The Quilter’s Book of Design, 2d ed, pg.15) Static rhythm, alternating rhythm and progressive rhythm have an effect on unity through repetition.
• “Visual rhythm can be smooth and even, or it can be abrupt and uneven, depending on the goal the quilt designer wants to achieve.” (The Quilter’s Book of Design, 2d ed, pg. 16)

 Examples of Rhythm

• heartbeat – “repeats in a regular, orderly manner and establishes a rhythm that underlies your very existence” (Aimone, Design! A lively guide to design basics for artists & craftspeople, pg.112)
• “breathing consists of a regular sequence of inhaling and exhaling” (Aimone, Design! A lively guide to design basics for artists & craftspeople, pg.112)
• “When you walk, you establish parallel rhythms with the two sides of your body.” (Aimone, Design! A lively guide to design basics for artists & craftspeople, pg.112)

 Notes:

• “Careful placement of accents pulls the viewer’s eye across the picture. The eye travels quickly when elements are closely spaced, more slowly across wider intervals. Use accents to control the rhythm and keep the viewer’s eye moving within the picture.” (Liz Berg handout entitled Principles of Design from “Design the Abstract Quilt” class). This is one area where a border is useful. Instead of just slapping on a border (and you all know by now that this is one of my biggest pet peeves), look at whether your design is falling off the quilt and needs to be contained or whether you need to continue the design into the border to finish it.
• “…rhythm relies on repetition. Repeating design elements over and over again will create a sense of rhythm with the design field.” (A Fiber Artist’s Guide to Color & Design, pg. 127)
• “Rhythm helps to entice the viewer to stay longer and can make an artwork easier to live with.  (A Fiber Artist’s Guide to Color & Design, pg. 127)
• “..if the rhythm of a work becomes too static or monotonous then the work becomes easy to ignore.” (A Fiber Artist’s Guide to Color & Design, pg. 127)
• Visual rhythm is closely connected to rhythms in music and the rhythms of art pieces are sometimes inspired by music. (Pentak & Lauer, pg. 108)

Rhythm Resources:

• A Fiber Artist’s Guide to Color & Design book* by Heather Thomas
• Art+Quilt* by Lyric Kinard
• Design! A lively guide to design basics for artists & craftspeople by Steven Aimone book*
• International School | Breda Principles of Design page
• Liz Berg handout entitled Principles of Design from “Design the Abstract Quilt” class
• Rhythm – Basic Principles of Design post/article
• The Quilter’s Book of Design, 2d book*

**Obviously, you should shop at local quilt shops. However, I use affiliate links and may be paid for your purchase of an item when you click on an item’s link in my post. There is no additional cost to you for clicking or purchasing items I recommend. I appreciate your clicks and purchases as it helps support this blog.

Sandy and I got together, virtually, of course, and recorded another episode. This time the topic was Repetition, which is a Principle of Design. Repetition is closely related to Unity, another principle of design and a topic we discussed in this series previously. If you didn’t listen to the Unity podcast, you would be well served to listen to it before you listen to this one.

As a reminder, the design definition with which we are working is:  Design is a problem solving activity within all the arts, placing or creating subject matter so it is of visual significance and interesting to the artist. (from The

“The principle of repetition is very versatile. It not only promotes the existence of unity, but it plays a significant role in the appearances of the principles of rhythm and harmony (Adventures in Design, pg. 97)

Definitions of Repetition:

1. “[Repetition] provides visual clues to help move the eye about the picture. Similarities in elements reinforce the viewer’s recognition of symbols, strengthen the rhythm, encourage movement, and produce patterns. Introduce variations of repeated elements to prevent boredom.” (Liz Berg handout entitled Principles of Design from “Design the Abstract Quilt” workshop). Nota bene: When she uses ‘elements’ in this definition, she doesn’t mean design elements, but elements in the design; parts of the design, e.g. repeating a checkerboard at various intervals.
2. “We use the word repetition to describe the practice of using design elements over and over again” (A Fiber Artist’s Guide to Color & Design, pg. 124)
3. An element that repeats in various parts of a design to relate the parts (The Quilter’s Book of Design, 2d ed, pg.155)
4. “Repetition in design is simply repeating one or more elements. (Wolfrom, Adventures in Design, pg. 97)
5. “…something simply repeats in various parts of the design to relate the parts to each other. The element that repeats may be almost anything: a color, a shape, a texture, a direction or an angle.” (Pentak & Lauer, pg.28)
6. Provides visual clues to help move the eye around the image. (Liz Berg handout entitled Principles of Design from “Design the Abstract Quilt” class)

“…repeated elements will help bring unity to our artistic creations.” (Art+Quilt, pg. 80)

“A definite focal point is not a necessity in creating a successful design. It is a tool that arts may or many not use, depending on their aims. An artist may wish to emphasize the entire surface of a composition over any individual elements.” (Pentak & Lauer, pg.57) One way to do this is to repeat a motif or element.

•  In Andy Warhol’s 100 Cans painting, there are “a hundred repetitions of precisely the same image with no change, no contrast, and no point of emphasis. But the repetitive, unrelieved quality is the basic point and dictated the design.” (Pentak & Lauer, pg.57)

Repetition is used frequently in quiltmaking.

• blocks
• similar fabrics or colors
• fabric repeats
• Repeated vertical stripes in an Amish Bars quilt (Art+Quilt, pg. 80)

Repetition can be used in representational work as well. In Degas’ painting, The Millinery Shop, the artist often repeats a circle motif. The circles are a repeating element of visual unity, but the circles fit into the painting, because they represent objects such as hats, flowers, bows, the woman’s head, bosom, and skirt. (Pentak & Lauer, pg.28)

Examples of repetition in quilts and other art:

• Cabbages: http://www.flickr.com/photos/artquiltmaker/6259339035/in/photostream/
• Doors: http://3.bp.blogspot.com/-rSe2s1w5dFY/TbyYeslJqeI/AAAAAAAAAIE/Fo9Qdklxrh0/s1600/DSC01043.JPG (http://sewwhat-maryse.blogspot.com/)
• Stamps: http://www.flickr.com/photos/kitty80/4935066650/ (via Pinterest)
• Group of repetition on Flickr: http://www.flickr.com/photos/littlebluebell/6686547963/in/photostream/

Integrating with other Principles and Elements

• Repetition is the element of choice to create unity. (Wolfrom, Adventures in Design, pg.97)
  • Tinturaria’s Ski Crowd 1 : http://tinturaria-handprinting.com/product/ski-crowd-i
• “Repetition promotes the existence of unity, but it plays a significant role” in the appearances of rhythm as well. “Repetition that flows fluidly throughout a design allows rhythm to come forth. When Repetition and Rhythm work together in a visually pleasing manner, harmony is created.” (Wolfrom, Adventures in Design, pg.97)
• “…at least one repeating element” can serve to create unity.” (Wolfrom, Adventures in Design, pg.97)
• “If no repetition exists there is nothing to hold the design together.” (Wolfrom, Adventures in Design, pg.98)
• “Pattern is a repetitive design with a motif appearing again and again. A pattern is created when the viewer is led to anticipate the same elements in a design. The repetition does not have to symmetrical, nor does it have to be precisely placed for the view to be able to anticipate or a find a pattern.” (The Quilter’s Book of Design, 2d ed, pg.49)
• Repetition is “a valuable and widely used device for achieving visual unity.” (Pentak & Lauer, pg.28)
• Rhythm is “the repetition of a regular pattern, or a harmonious sequence or correlation of colors or elements.” (Art+Quilt by Lyric Kinard, pg.80)

Tips and Tricks

• • • “Every element does not need to be repeated. If too many elements are repeated, predictability, visual monotony, and disinterest can result.” (Wolfrom, Adventures in Design, pg.97)
    • Elements can be repeated in different sizes, shapes or textures, etc and still be considered repetition. (Pentak & Lauer, pg.28)
      • A good example of this is: Sophie Taeuber-Arp‘s Composition with Circles Shaped by Curves and Composition in a Circle. 1937 (Pentak & Lauer, pg.28)

• “Similarities in elements reinforce the viewer’s recognition of symbols, strengthen the rhythm, encourage movement, and produce patterns. Introduce variations of repeated elements to prevent boredom.” (Liz Berg handout entitled Principles of Design from “Design the Abstract Quilt” class)

Notes:

If you have not seen Wayne Thiebaud‘s work, not only are his cakes and candies paintings whimsical, they are GREAT examples of repetition.

•  “Repetition is another way to create unity in a quilt design. The repetition of an element in a composition can tie the whole together, creating a relationship among the elements.” (The Quilter’s Book of Design, 2d ed, pg.15) Nota bene: again, ‘element’ in this context means part.

•  “…repetition of an element creates visual rhythm.” (The Quilter’s Book of Design, 2d ed, pg.15). Static rhythm, alternating rhythm and progressive rhythm have an effect on unity through repetition, but we will cover that when we cover the Principle of Rhythm.

• “Repetition that flows fluidly throughout a design allows rhythm to come forth.” (Adventures in Design, pg. 97)
• “When repetition and rhythm work together in a visually pleasing manner, harmony is created.” (Adventures in Design, pg. 97)

Repetition Resources

• A Fiber Artist’s Guide to Color and Design by Heather Thomas
• Adventures in Design by Joen Wolfrom
• Art+Quilt by Lyric Kinard
• Design Basics by Pentak & Lauer
• John Lovett website: http://www.johnlovett.com/test.htm
• Liz Berg handout entitled Principles of Design from “Design the Abstract Quilt” class
• The Quilter’s Book of Design, 2d ed by Ann Johnston
  
• Scrapbook Design Basics – Repetition: http://scrapbooking.about.com/od/gettingstarted/tp/Scrapbook-Design-Basics-Repetition.htm
• Understanding Design Basics: Rhythm & Repetition by Vanessa Gardner Nagel, http://www.seasonsgardendesign.com/Article-UDB-Rhythm_Repetition.html

 Examples of Repetition:

The triangles of the branches are what caught my attention.

Source: cathyhecknurseryart.com via Jaye on Pinterest

Camellias in vases lined up are gorgeous.

Source: umla.tumblr.com via Jaye on Pinterest

Source: alifeofblue.blogspot.com via Jaye on Pinterest

 

 

Sandy and I got busy on the second class in the design series. See her blog for more information. See her supplemental post for even further information.

During my research travels into Line this past week, I found a great definition for design in Ann Johnston’s The Quilter’s Book of Design, 2d. This is an adjunct to the definitions we gave you in the last podcast. It is: Design is a problem solving activity within all the arts, placing or creating subject matter so it is of visual significance and interesting to the artist.

Line is an Element of Design.

Definition: Line is a mark on the surface that describes a shape or outline. A line is a mark made by a moving point and having psychological impact according to its direction, weight, and the variations in its direction and weight. Lines in quilt blocks can draw the eye around the quilt. For example, a Double Four Patch set in diagonal lines will draw the eye from top to bottom diagonally. An Irish Chain quilt setting can frame plain blocks filled with quilting or applique’ blocks.

Line is a mark on the surface that describes a shape or outline. Types of lines can include actual, implied, vertical, horizontal, diagonal and contour lines. The line quality makes the work more expressive. Lines act as a connector or boundary between shapes. They divide, but also connect. Lines may be:

• thick or thin (Perl cotton v. Aurifil)
• fast
• slow
• serene
• agitated
• jagged
• lyrical
• aggressive.

Line brings energy to the design. (Liz Berg handout)

• lines in quilts are generally seam lines or quilting lines.
• hand quilting
• machine quilting
• Pressing also creates a line.
• When you press to one side, you have 3 layers of fabric bulking up the seam. This can be used to highlight areas (see Ruth McDowell’s Piecing Beyond the Basics book)
• lines on quilts can also be embroidery (hand or machine)
• sashiko
• redwork ( and similar)
• couching
• sashing creates lines
• overall top design can include strong lines
• Irish Chain
• Jewel Box
• Diamond Chain

Questions/Things to consider:

• how a design uses line
• secondary designs created by the way line is used in a block, leading the eye through a design, that kind of thing.
• Line has dimension
• Perl cotton has more dimension than Aurifil thread
• Lines have width and length
• Lines are directional: horizontal, curved, vertical, diagonal, zig zaggy, straight, parallel and so on.

Quilt Blocks and Quilt Designs with Strong Lines

• Log Cabin (barn raising set ) Example – see #4
• Log Cabin (furrow set) – Example
• Row quilt – Example or Example
• Amish Bars – Example
• Blue Tulips on Pink Skies by Sue Nickels

Homework:

Exercise #1

You will need:

• piece of blank paper (can be the back of junk mail)
• catalog or magazine pictures you are willing to cut up
• paper scissors
• drawing or writing implement  (You can use anything, but one with a smooth line is great!)
• glue stick

1.  Find a picture in your magazine or catalog and cut a 3×3″ square out of it.
2. Take a piece of blank paper and lay it on the table in front of you
3. Glue the 3×3″ square somewhere towards the middle on the paper. There should be at least 2″ of white space around each side of the magazine picture.
4. Turn the paper upside down so the image is upside down.
5. Continue the image out from each side of the paper using your pen
6. “Simplify the design in the square and its drawn continuation.” Use the cut off edges to make a new design.
7. Perform this exercise over and over on different pieces of paper with different pictures until you are happy with the result.
8. Use the simplified design as a starting point for a quilt.

(adapted from Fearless Design for Every Quilter by Lorraine Torrence, pg. 63)

Exercise #2
You can do exercise #2 with free motion quilting as well using a 3×3″ square of fabric on top of a small (11×11″ or so) quilt sandwich.

Supplies you will need:

• a charm pack OR
• a group of approximately 50 3-5″ paper squares of all colors and designs (junkmail works well, you could use a scrapbooking paper punch if you have that) OR
• cut a group of 3-5″ squares of fabric (approximately 50)
• notebook or paper (reusing junk mail is just fine)
• pen or other writing implement

Directions:

1. Put all the squares on the floor or on a table right next to each other. Do not arrange them yet.
2. Look at them and see if you see any dominate lines. Make a note of how the lines show up (because of the color? because of the design on the fabric or paper? Other?)
3. If you have a camera, take a photo.
4. Rearrange the squares in some kind of order.
5. Look at them and see if you see any dominate lines. Make a note of how the lines show up (because of the color? because of the design on the fabric or paper? Other?)
6. If you have a camera, take a photo.
7. Based on what you saw in the squares of your fabric, draw simple lines in your notebook or on paper.
8. Optional: think about and take note of design ideas that are suggested to you by the images you have created.

Exercise #3

You will need:

• notebook or paper (junkmail is fine)
• pen or writing implement (colors are fun)

Directions: Draw different kinds of lines:

• zig zag
• curved
• broken
• straight (ish!)
• continuous
• fat
• thin

Resources:

• Fearless Design for Every Quilter by Lorraine Torrence
• Introduction to the Elements of Design – http://char.txa.cornell.edu/language/element/element.htm
• Ruth McDowell Piecing Beyond the Basics, ISBN: 9781571200419
• Exercises: http://www.sasked.gov.sk.ca/docs/paa/clothing/mod5.html
• Interesting visual examples of types of lines: http://www.mmwindowtoart.com/foundations/foundationsline.html

Two of my art quilts that were discussed in the episode: What Comes Next and Kissy Fish

You can read more about What Comes Next in a previous post.

Kissy Fish is difficult to photograph, because there are a lot of parts that reflect light very well.

Recently, Sandy, of Quilting for the Rest of Us, and I recorded a podcast where we started to talk about design. Several months ago, she asked me if I would considering talking with her and her listeners about design. I was reluctant. I am not an expert, but Sandy is pretty good at convincing people to do stuff and I am good at research. It has taken me some time to find the time, coalesce my thoughts and to start to do the research.

The first podcast we recorded was an overview of design. We discussed the principles and elements of design. We talked about what the principles and elements are in design and some examples of how to use them. We tried to talk about why a classic quiltmaker who uses patterns and books should care about design. I’d like to know if you have examples of how you have used design.

Some of my thoughts…

Knowing about design principles and elements helps refine your innate skill. Everyone has innate design skills.

Concept: I use patterns why do I need to know about design?

• Color is an element of design. To make beautiful quilts, you need to know about color. If you buy a kit, there may be one color you do not like and by knowing about design, you will be able to replace it successfully.
• Balance is a principle of design. If your eye sees an element of the quilt as being unbalanced, then knowing about design will help you adjust it.

Concept: I am not an art quiltmaker, why do I need to know about design principles and elements?

• “Some designs lack that indefinable life – or spark – that lifts them out of the mundane, the predictable, the commonplace …. learning about design elements and principles helps you train your vision and refine your subconscious decision making.” (Fearless Design for Every Quilter by Lorraine Torrence, pg.57)
• Negative space in fabric: “When choosing prints for a patchwork, think about how they’ll look when cut up. Does that small print have so much negative (empty) space that the actual print part won’t show up on half of the pieces? Is that large print so big that the pieces cut from it will look like they’re from entirely different pieces of fabric? (Elizabeth Hartman, The Practical Guide to Patchwork, pg.24).
• Borders: does slapping on 4 lengths of fabric work with the design you have chosen or would a bit of piecing enhance your excellent quilt top?
• Books: when looking at books and evaluating whether you want to spend money on it, you can evaluate the various elements and principles of  design included in the patterns of the book.

Many quiltmakers, though not formally trained in art (e.g. an MFA in fine art) have intuitive art sensibilities. (Fearless Design for Every Quilter by Lorraine Torrence, pg.5)

I have been thinking about design for awhile. I never took a dedicated design class in school and have never found one that fit into my schedule since. Also, I am too lazy to leave my house again once I get home. If I did sign up I would go, so the laziness is really me thinking that I would be lazy and not go to class even before I sign up. Sigh!

I have pages and pages of notes I have taken on design elements and principles as I have tried to make the design elements and principles part of my working toolbox.

Design is a way of organizing a piece of visual work. According to the Quilter’s Book of Design, 2d by Ann Johnston, “Design is a  problem-solving activity within all the arts, placing or creating subject matter so it is of visual significance and interesting to the artist.” (pg.xi). I like this definition, because it is understandable and doable. It also isn’t scary for people who have no MFA. When I think about solving a problem with my quilt, I relax about design and try to review the skills in my design toolbox. Remember, though, that “we all have personal experiences, subjective leanings, and differences in personality that make us prefer one thing to another…” (Fearless Design for Every Quilter by Lorraine Torrence, pg.57)

Good design requires practice and is the “result of of a successful combination of design elements … and principles…”(Fearless Design for Every Quilter by Lorraine Torrence, pg.6)

Elements of Design
The elements form the ‘vocabulary‘ of the design (Wikipedia, design elements and principles).

The Elements of Design are the language of the visual arts (http://www.wiu.edu/art/courses/design/elements.htm).

The elements are components or parts which can be isolated and defined in any visual design or work of art. They are the structure of the work, and can carry a wide variety of messages (http://char.txa.cornell.edu/language/element/element.htm).

• Line
• Shape
• Value
• Color
• Movement
• Size
• Pattern

Principles of Design
The principles constitute the broader structural aspects of the design’s composition (Wikipedia, design elements and principles).

Principles (http://www.wiu.edu/art/courses/design/principles.htm).

The Principles are concepts used to organize or arrange the structural elements of design. Again, the way in which these principles are applied affects the expressive content, or the message of the work (http://char.txa.cornell.edu/language/principl/principl.htm).

• Unity
• Harmony
• Contrast
• Rhythm
• Repetition
• Gradation
• Balance
• Dominance

The principles of design, according to my research, are usually taught first. I think they are also a little harder to explain to an audio audience, so I told Sandy we should start with the elements. After getting into it a bit, I am thinking that we might bounce around. Hope you tune in to find out!