1. COMICS PRINTMAKING QUILTS MANGA FASHION ILLUSTRATION FASHION DESIGN PAINTING DIGITAL IMAGING CALLIGRAPHY LETTERPRESS ILLUSTRATION FIBER FABRIC ARCHITECTURAL DESIGN PHOTOGRAPHY WALLPAPER DESIGN BOOK DESIGN BOOK COVER ILLUSTRATION/DESIGN MIXED MEDIA CARTOONS MOVIE STORYBOARDS POLITICAL CARTOONS CHILDREN’S ILLUSTRATION EMBROIDERY MOSAICS PRODUCT DESIGN STAINED GLASS FILM STILLS

2. AP STUDIO ART 2D DESIGN JERRY STEFL Arthur Wesley Dow; Silhouetted Trees; 1895 IT IS COMPLICATED SO BE QUIET AND LISTEN

3. Arthur Wesley Dow Composition: A Series of Exercises Selected from a New System of Art Education; 1899. “Mr. Arthur Wesley Dow, the artist, who declares that ‘art education should begin at composition,…” “the filling of spaces in agreeable and harmonious arrangement…” Henry Rankin Poore, Pictorial Composition and the Critical Judgment of Pictures; 1903

4. WHAT IS 2D DESIGN? DESIGN refers to the adaptation of means to an END. …the coordination of parts to produce a result; intent and purpose fasten on the end itself. …SO PUT ON THE 2D LENS…NOW!

5. VISUAL ORGANIZATION “ART SEEKS VISUAL SOLUTIONS IN WHAT IS OFTEN CALLED THE DESIGN PROCESS.” Design Basics; Laurer & Pentak CES 53

6. BAUHAUS 1919-33 Joost Schmidt; Poster for a Bauhaus Exhibition; 1923

7. Laszlo Moholy-Nagy; Photogram; 1926

8. Joseph Albers; Formulation, Articulation; 1972

9. Johannes Itten; Die Begegnung; 1916

10. Hannes Meyer; Konstruction; 1927

11. Lyonel Feininger; Oberweimar; 1927

12. TYPES OF 2D ART Representational E.J. Bellocq; Storyville/Untitled;1912Karl Wirsum; Oops Goops; Etching 1997

13. NONREPRESENTATIONAL Liz Ward; Crazy Weather; watercolor/gouache; 2008 Lee Krasner; Noon; Oil; 1947

14. Organizing Principles of 2D DESIGN Unity Emphasis/Focal Point/Contrast Scale/Proportion Balance Rhythm

15. UNITY An integrated image Agreement exists among the elements The parts of the whole look like they belong together Visual connection beyond mere chance Elements are harmonious Wayne Thiebaud; Cakes; Oil; 1963

16. UNITY THROUGH PROXIMITY Graffiti

17. UNITY/PROXIMITY Romare Bearden; Madeline Jones’ Wonderful Garden; College of various papers, ink, graphite with surface abrasion on fiberboard; 1977

18. UNITY THROUGH REPETITION Brian Dettmer; Book Autopsies; Altered books

19. UNITY/REPETITION Margaret Bourke-White; Bread Line During the Louisville Flood, Kentucky; Silver Gelatin Print; 1937

20. UNITY THROUGH CONTINUATION Jules Feiffer; Big Town; Iris print; 2009

21. UNITY/CONTINUATION Banksy; The Thekla; Waterline; Bristol

22. UNITY USING THE GRID Harold Michelson; Storyboard, “The Birds;” 1963

23. UNITY USING THE GRID Eadweard Muybridge; Ascending Stairs; 1884-85

24. UNITY USING THE GRID Manga; Page 9 from “Love Collage;” 2010

25. UNITY USING THE GRID Roger Brown; The Young and Self Conscious; Oil; 1991

26. EMPHASIS/FOCAL POINT/CONTRAST An emphasized element can attract attention It encourages the viewer to look closer Large vs. small Light vs. dark Tony Fitzpatrick; O; Color etching; 2000

27. EMPHASIS BY CONTRAST Mehdi Saeedi; The 18 th International Music Festival; Poster for the Music Center, Islamic Guidance Ministry; 2003

28. EMPHASIS BY CONTRAST Ansel Adams; Bridal Veil Falls, Yosemite Valley; 1929

29. EMPHASIS BY CONTRAST Ed Paschke; Paula; Oil on linen; 1972

30. EMPHASIS BY ISOLATION David Brebin; Girl in Hong Kong; Digital C-Print; 2010

31. EMPHASIS BY ISOLATION Erol/CT’INK; Dresden 09; Spray paint on cardboard; 2010

32. EMPHASIS BY ISOLATION Jonathon Hexner; Boy Drinking 3/11; Dynamite Fuse & Utrachrome on paper; 2006

33. EMPHASIS BY PLACEMENT Julie Blackmon; Take Off; Digitally constructed photograph, 2009

34. EMPHASIS BY PLACEMENT Martin Ramireiz; Title Unknown; melted wax carayon, oatmeal paint on discarded paper; date unknown

35. EMPHASIZING THE WHOLE OVER THE PARTS Joan Miro; II. Ubo Roi: Le Banquet; Lithograph; 1966

36. EMPHASISING THE WHOLE OVER THE PARTS Robert Swedroe; Paragon in Red; Oil on canvas; 2007

37. SCALE AND PROPORTION Refers to size Large scale and small scale are meaningless without a standard of reference Size measured against other elements is proportion Ali Omar Ermes; The Letter ‘Kaf”-The Power of Expression; 1945

38. HUMAN SCALE/LARGE VS. SMALL Christopher Klein; Dreamtime; Oil on Canvas

39. HUMAN SCALE/LARGE VS SMALL Deborah Ebbers; Old Giants No. 2; Oil on Panel, 2009

40. SCALE IN CONTEXT Kehinde Wiley; Three Graces; Oil/Enamel on canvas; 72x96 inches; 2005

41. SCALE IN CONTEXT Magdalena Abakanowicz; Bois-Le-Duc; Sisal and wool weaving; 1970/71

42. BALANCE Distribution of visual weight seeming natural and unposed Equal distribution of visual weight on either side of a vertical axis Mel Bochner; Blah, Blah, Blah; Oil on velvet; 49 x 37 inches; 2009

43. ASYMMETRICAL OR INFORMAL BALANCE Matt Kane; And Together We’ll Remain the Parts that make Whole of Our Pain; Oil on canvas

44. ASYMMETRICAL OR INFORMAL BALANCE James Mesple; Siren’s Song; Mixed Media; 2008

45. SYMMETRICAL OR FORMAL BALANCE Karl Blossfeldt; Indian Balsam

46. SYMMETRICAL OR FORMAL BALANCE Hollis Sigler; I Find Hope on the Horizon; Color Lithograph; 1996 Hollis Sigler; She Dreams of Escaping to Hope; Color Intaglio with lithographed mat; 1997

47. RADIAL SYMMETRY Wissam Shawkat; Poster for Arabic Calligraphy; Ink; Iraq

48. RADIAL SYMMETRY Sally Mann; At Warm Springs; Gelatin Silver Print; 1991

49. RHYTHM Movement across recurrent motifs Inherent in repetition Made up of patterns and sequences Ed Paschke; Flamenco; 8 color screen print; 1991

50. RHYTHM USING REPETITION Virginia Spiegel; Quilt; Cotton fabric dyed and painted, felting, threads

51. RHYTHM USING REPETITION Bass/ Custard Factory/British Arts Council; Nelson Mandela

52. Marti Waller; Carousel; quilted fabrics RHYTHM USING PATTERN AND SEQUENCE

53. Mary Bero; Modern Stories; Threads, embroidery on cotton, 9x9 ¾ inches

54. ELEMENTS OF ART Can not stand alone Elements need a principle to become whole A sentence needs a verb and a noun to become a sentence A composition needs a verb (principle) and a noun (elements) to become a composition Line Shape Value Texture Illusion of Space Color

55. Robert Crumb; The Book of Genesis LINE CAN CONVEY MOOD

56. LINE CAN DESCRIBE SHAPE Henry Darger; Illustrations for ‘The Realms of the Unreal; Pencil and watercolor

57. LINE CREATING DIVERSITY AND EMPHASIS Susan Rothenberg; Acrylic, pencil on paper, 1978

58. LINE CREATING DARKS AND LIGHTS Joseph Yoakum; Mt. Safama Near Oruna Bolivia South America; Ballpoint pen & colored pencil; Feb. 14, 1966

59. OUTLINE OF FORMS Orly Cogan; Size Matters; 46 x 46 inches; Handstitched embroidery on vintage tablecloth

60. EXPLICIT LINES Brice Marden; Suzhow III; Colored etching, sugarlift, aquatint, drypoint, scraping; 1996- 98

61. RECTILINEAR SHAPE: POSITIVE/NEGATIVE Lindon Leader; Leader Creative; FedEx Logo; 1994

62. CURVILINEAR SHAPE: POSITIVE/NEGATIVE Reza Abedini; Calligraphic Poster Exhibition

63. Natural Shapes Bill Traylor; Red Goat with Snake; Colored pencil on cardboard; 1939-42

64. EXAGGERATED SHAPES Gladys Nilsson; Tea Time; Watercolor & gouache on paper; 2001

65. Luba Lukova; War Is Not the Answer; Poster AMIBIGUOUS SHAPE

66. OUTLINED SHAPES Get Down White Boy; BASS/Custard Factory; British Art Council

67. TEXTURE: ACTUAL Amy Clark Moore; Atlanta’s Apple; 4 ¾ x 5 ½ inches; Beaded embroidery; 2004

68. TEXTURE: ACTUAL Vadim Katznelson; Fluff; Acrylic/Resin on Board; 14 x 14 inches; 2008

69. TEXTURE: ACTUAL Rosabelle Ben; Storm Pattern; Navajo Sandpainter

70. TEXTURE: IMPLIED Robert Lostutter; Superb Sunbird; Black and white lithograph; 1991

71. TEXTURE: IMPLIED Mickalene Thomas; Afro Goddess with Hand Between Legs; C-Print; 2006

72. TEXTURE: IMPLIED Ray Yoshida; Scramble; Oil on Canvas; 54 x 78 inches; 1997

73. ILLUSION OF SPACE: OVERLAPPING William Conger; Kabuki; Oil on Canvas; 60 x 96 inches; 2008

74. ILLUSION OF SPACE: ABSTRACT John Fraser; Relief With Ruler (In Grey); Acrylic, Mixed Media (Ruler, book spine, book covers) on wood construction;

75. ILLUSION OF SPACE: SIZE PROPORTIONS Archibald Motley, Jr.; Nightlife; Oil on Canvas; 1943

76. ILLUSION OF SPACE: LINEAR PERSPECTIVE Daniel Burnham; South Shore Park, Chicago, Illinois: Design Sketch; 1896

77. ILLUSION OF SPACE: LINEAR PERSPECTIVE Henry Glass; Fada Radio Design, Red Radio: Presentation Drawing; 1946

78. ILLUSION OF SPACE: LINEAR PERSPECTIVE George Tooker; Subway; Egg tempera on composition board; 18 x 36; 1950

79. ILLUSION OF SPACE: EXAGGERATED SIZE Mary Jones; Red Table; Mixed media monoprint

80. VALUE: FULL RANGE Robert Ziebell; Bridal Gowns; Silver Gelatin Print; 2009

81. VALUE: SUGGESTING SPACE Audrey Niffenegger; Plate 7, From ‘The Three Incestuous Sisters; Handcolored etching with aquatint

82. VALUE: DARK ON LIGHT Nancy Spero; Suffragette/Hittite Goddess; Handprinting with printed collage; 1988

83. VALUE: LIGHT ON DARK Fred Stonehouse; Untitled (Hood); Acrylic on wood; 24 x 19 inches

84. COOL COLOR EVOKES RESPONSE Pablo Picasso; The Old Guitarist; Oil on canvas; 1903/04

85. WARM COLOR EVOKES RESPONSE Laurie Hogan; Song of Retail #1: Pink Skull Monkey; Oil on panel; 19 x 19 inches

86. COLOR EVOKES RESPONSE: WARM/COOL CONTRAST Leon Golub; Interrogation II; Oil on canvas scraped; 1981

87. MONOCHROMATIC COLOR Mark Rothko; Untitled Painting; Oil on Canvas; 1953/54

88. MONOCHROMATIC COLOR Jeffery Ripple; Bullhead; Oil on paper; 19 x 26

89. COMPLEMENTARY COLOR Hans Hoffman; The Golden Wall; Oil on Canvas; 1961

90. COMPLEMENTARY COLOR Lola Pettway; Housetop; 2002

91. COMPLEMENTARY COLOR Edward Hopper; Nighthawks; Oil on canvas; 1942

92. COLOR DOMINANCE Mike Noland; The Stormy Night; Oil on canvas; 36 x 48 inches

93. SYMBOLIC COLOR Jasper Johns; Flag; Encaustic, oil, collage on fabric mounted on panels; 42 x 60 inches; 1954/55

94. SYMBOLIC COLOR Faith Ringgold; American Quilt

95. Luba Lukova; Social Security; Poster SYMBOLIC COLOR

96. COMICS PRINTMAKING QUILTS MANGA FASHION ILLUSTRATION FASHION DESIGN PAINTING DIGITAL IMAGING CALLIGRAPHY LETTERPRESS ILLUSTRATION FIBER FABRIC ARCHITECTURAL DESIGN PHOTOGRAPHY WALLPAPER DESIGN BOOK DESIGN BOOK COVER ILLUSTRATION/DESIGN MIXED MEDIA CARTOONS MOVIE STORYBOARDS POLITICAL CARTOONS CHILDREN’S ILLUSTRATION EMBROIDERY MOSAICS PRODUCT DESIGN STAINED GLASS FILM STILLS