1. ELEMENTS & PRINCIPLES OF DESIGN

2. 6 ELEMENTS OF DESIGN

3.  Line  Size, shape  Scale  Proportion  Movement  Real  Simulated  Optical  Light  Lots of details…we’ll spend a whole unit on Light later  Color  Hue, Value, Chroma  Texture  Real  Simulated WHAT ARE THE ELEMENTS OF DESIGN?

4.  Can enclose space as an outline  Can also suggest 3D form  Suggested line - the eye follows sequence of related shapes  Changeable qualities: direction, length, width, & movement.  Arrangement of lines can assume an attitude LINE

5. FAUST

6.  The size of mass of a form  In design—defined by proportion or size of one form relative to another  First decision of scale in scenic design: stage to actor  Examples?  Changes to scale may help advance a different atmosphere  Negative space is part of this scale (Space between two objects)  Also establishes rhythm or movement  Examples? SCALE

7. PHANTOM OF THE OPERA

8. NEXT TO NORMAL

9.  The action of form (kinetic energy of composition)  Real movement—actual physical movement  Actors, light, actual movement of scenic elements  Other examples?  Simulated movement—implied movement in a static medium.  Motion lines in a drawing, indication of fabric flowing.  Other examples?  Optical movement—Fixed arrangement of forms that engages movement of the eye.  Suggested line (eye moves from one shape to next)  Draws on people’s sense of orientation.  Examples? MOVEMENT

10. PHANTOM OF THE OPERA

11.  Transferability  Ability to transfer motion to or from a static object  A static figure will appear to move with a pulsating background.  Can also be transferred the other way:  Like a moving background to a fixed object. MOVEMENT CONT’D

12.  Light reveals form.  Real light is it’s own form of design.  Simulated light is a two-dimensional representation of light. LIGHT

13. WICKED

15.  Often generates strongest response  Because of emotional associations  Color has two basic sources: Pigment & light  Three variants:  Hue (the name of a color [wavelength position])  Value (Presence of white or black in a color)  Often used by itself in B&W sketches  Chroma (or Saturation, the purity of a color or neutrality)  Warm colors generally evoke happier emotions  Cool colors suggest sadder emotions  These are vague generalizations COLOR

16. WICKED

17.  Tactile aspect of form.  Adds interest by giving character to finished form  Surfaces vary wildly (highly polished to very rough)  Real texture is 3D (false brick, stucco, tree bark)  Advantage of catching & breaking up light in interesting ways  Simulated texture is 2D but suggests 3D—typically achieved with painting techniques TEXTURE

18. WICKED

19.  Texture is dependent upon light for its revelation  Light can reveal texture, typically by use of steep angle throws (flat angles tend to wash out texture)  Light can create texture through the use of gobos (patterns)  Video mapping is now being used to create texture on a blank canvas LIGHT & TEXTURE