ART AND DESIGN

INTRODUCTION TO ART AND DESIGN

Definition of terms

1. Art is the expression or application of human creative skill and imagination, typically in
a visual form such as painting or sculpture, producing works to be appreciated primarily
for their beauty or emotional power
2. Design - an outline, sketch, or plan, as of the form and structure of a work of art, an
edifice, or a machine to be executed or constructed.
3. Fine art- creative art, especially visual art whose products are to be appreciated primarily
or solely for their imaginative, aesthetic, or intellectual content.
Art is something which is very malleable (subject to personality), Art is more a feeling than a
device or a product as it means wildly different things across industries or ethnicity. It’s one of
life’s most beautiful but confusing things. What might me art to me would probably not be art to
you.
Art is meant to stimulate thought and conversation between its viewers. By reflecting
on a piece of art, we delve into our own experiences and nostalgia, thus a piece of art
means something different to every person that comes across it.
Importance of studying art and design

1. Art and design is important from a cultural perspective. A strong art education can give young
people an appreciation of why art matters, where it comes from, and where it fits in a wider
social, historical and political context. As well as being an enjoyable and pleasurable subject
to study, art gives students an understanding of the world, and themselves, by looking at
what’s been expressed by others before them.
2. Art and design fosters creativity, imagination and confidence.
3. It can helps in growth of an economy. Art and design industry employs thousands of people
4. Artists can act as social revolutionaries, highlighting injustices and inciting the
viewer to change the way things are.

Elements of design

1. Color
2. Line
3. Form/ Shape
4. Texture

1. COLOUR
Colour can be defined as visible light. As humans we are able to identify a given color only
because there is light.

In art and design color is a very important element, which when properly utilized gives the
pieces of art a great look.

Concepts and Color Terminology

Shade A shade is created by adding black to a base hue, darkening the color. This creates a
deeper, richer color. Shades can be quite dramatic and can be overpowering.
Tint A tint is created by adding white to a base hue, lightening the color. This can make a color
less intense, and is useful when balancing more vivid color combinations.
Tones A tone is created by combining black and white—or grey—with a base hue.
Hue (another name used in place of color) is basically any color on the color wheel.
Intensity, also called chroma or saturation, refers to the brightness of a color. A color is at full
intensity when not mixed with black or white – a pure hue. You can change the intensity of a
color, making it duller or more neutral by adding gray to the color. You can also change the
intensity of a color by adding its complement (this is the color found directly opposite on the
traditional color wheel). When changing colors this way, the color produced is called a tone.
Color value/ Luminance refer to the lightness or darkness of the hue. Adding white to a hue
produces a high-value color, often called a tint. Adding black to a hue produces a low-value
color, often called a shade.
Color Wheel
It is a circle with different colored sectors used to show the relationship between colors.
This is the combination of primary, secondary and tertiary colors.
There are 12 main colors on the color wheel.
The color wheel can be divided into primary, secondary and tertiary colors.
1. Primary Colors
They are the 1st colors on a color wheel and are combined to form other colors.
They are a set of colors from which all other colors may be derived
The primary colors are those which cannot be created by mixing other colors.
They include:
 Blue
 Red
 Yellow
 2. Secondary Colors
They are the 2nd colors on a color wheel which are a combination of equal parts of two primary
colors.
They are colors that result from mixing two primary colors.
They include:
 Blue + Yellow = Green
 Blue + Red = Purple
 Yellow + Red = Orange

3. Tertiary Colors
These are a combination of more than two primary colors in equal proportions or one primary
color and one secondary color in equal proportion.
Examples
 Red + Purple(Blue+ Red) = Red-Purple
 Yellow+ Orange(Yellow + Red) = Yellow-Orange
Note: black and white don’t occur on a color wheel, they are known as neutral or Aromatic
colors.
LESSON 2 END
THE COLOR THEORY

Color theory is a term used to describe the collection of rules and guidelines regarding the use of
color in art and design, as developed since their early days. Color theory informs the design of
color schemes, aiming at aesthetic appeal and the effective communication of a design message
on both the visual level and the psychological level.
Psychological effects of color
This refers to how colors affect human behavior, mood, or physiological processes.
Colors are thought to influence our buying choices, our feelings, and even our memories.
Ideas related to color psychology are heavily implemented in the areas of marketing and design.
Companies choose colors that they believe will motivate customers to buy their products and
improve brand awareness.
Colors have even been used in color therapy techniques to treat various diseases.
Color Associations
While no direct cause and effect relationship between color and behavior has been found, some
generalizations about colors and what they may symbolize have been determined.
The following are some of the color association.
1. Warm colors
Warm colors include red, orange, and yellow, and variations of those three colors. These are the
colors of fire, of fall leaves, and of sunsets and sunrises, and are generally energizing, passionate,
and positive.
Red and yellow are both primary colors, with orange falling in the middle (making it a secondary
color), which means warm colors are all truly warm and aren’t created by combining a warm
color with a cool color. Use warm colors in your designs to reflect passion, happiness,
enthusiasm, and energy.
a) Red
Red is a very hot color. It’s associated with fire, violence, and warfare. It’s also associated with
love and passion. In history, it’s been associated with both the Devil and Cupid. Red can actually
have a physical effect on people, raising blood pressure and respiration rates. It’s been shown to
enhance human metabolism, too.
Red can be associated with anger, but is also associated with importance (think of the red carpet
at awards shows and celebrity events). Red also indicates danger (the reason stop lights and signs
are red, and that warning labels are often red).
Outside the western world, red has different associations. For example, in China, red is the color
of prosperity and happiness. It can also be used to attract good luck. In other eastern cultures, red
is worn by brides on their wedding days. In South Africa, however, red is the color of mourning.
Red is also associated with communism.
In design, red can be a powerful accent color. It can have an overwhelming effect if it’s used too
much in designs, especially in its purest form. It’s a great color to use when power or passion
want to be portrayed in the design. Red can be very versatile, though, with brighter versions
being more energetic and darker shades being more powerful and elegant.
b) Orange
Orange is a very vibrant and energetic color. In its muted forms it can be associated with the
earth and with autumn. Because of its association with the changing seasons, orange can
represent change and movement in general. Orange is also strongly associated with creativity.
Because orange is associated with the fruit of the same name, it can be associated with health and
vitality. In designs, orange commands attention without being as overpowering as red. It’s often
considered more friendly and inviting, and less in-your-face.
Yellow is often considered the brightest and most energizing of the warm colors. It’s associated
with happiness and sunshine. Yellow can also be associated with deceit and cowardice, though
(calling someone yellow is calling them a coward).
c) Yellow
Yellow is also associated with hope, as can be seen in some countries when yellow ribbons are
displayed by families who have loved ones at war. Yellow is also associated with danger, though
not as strongly as red.
In some countries, yellow has very different connotations. In Egypt, for example, yellow is for
mourning. In Japan, it represents courage and in India it’s a color for merchants.
In your designs, bright yellow can lend a sense of happiness and cheerfulness. Softer yellows are
commonly used as a gender-neutral color for babies (rather than blue or pink) and young
children. Light yellows also give a more calm feeling of happiness than bright yellows. Dark
yellows and gold-hued yellows can sometimes look antique and be used in designs where a sense
of permanence is desired.
2. Cool colors
Cool colors include green, blue, and purple, are often more subdued than warm colors. They are
the colors of night, of water, of nature, and are usually calming, relaxing, and somewhat
reserved.
Blue is the only primary color within the cool spectrum, which means the other colors are
created by combining blue with a warm color (yellow for green and red for purple).
Use cool colors in your designs to give a sense of calm or professionalism.
a) Green.
Green is a very down-to-earth color. It can represent new beginnings and growth. It also signifies
renewal and abundance. Alternatively, green can also represent envy or jealousy, and a lack of
experience.
Green has many of the same calming attributes that blue has, but it also incorporates some of the
energy of yellow. In design, green can have a balancing and harmonizing effect, and is very
stable.
It’s appropriate for designs related to wealth, stability, renewal, and nature. Brighter greens are
more energizing and vibrant, while olive greens are more representative of the natural world.
Dark greens are the most stable and representative of affluence.
b) Blue
Blue is often associated with sadness in the English language. Blue is also used extensively to
represent calmness and responsibility. Light blues can be refreshing and friendly. Dark blues are
more strong and reliable. Blue is also associated with peace and has spiritual and religious
connotations in many cultures and traditions (for example, the Virgin Mary is generally depicted
wearing blue robes).
The meaning of blue is widely affected depending on the exact shade and hue. In design, the
exact shade of blue you select will have a huge impact on how your designs are perceived. Light
blues are often relaxed and calming. Bright blues can be energizing and refreshing. Dark blues,
like navy, are excellent for corporate sites or designs where strength and reliability are important.
c) Purple
In ancient times, the dyes used for creating purple hues were extracted from snails and were very
expensive, so only royals and the very wealthy could afford them.
Purple is a combination of red and blue and takes on some attributes of both. It’s associated with
creativity and imagination, too.
In Thailand, purple is the color of mourning for widows. Dark purples are traditionally
associated with wealth and royalty, while lighter purples (like lavender) are considered more
romantic.
In design, dark purples can give a sense wealth and luxury. Light purples are softer and are
associated with spring and romance.
3. Neutral colors
Neutral colors often serve as the backdrop in design. They’re commonly combined with brighter
accent colors. But they can also be used on their own in designs, and can create very
sophisticated layouts. The meanings and impressions of neutral colors are much more affected by
the colors that surround them than are warm and cool colors.
a) Black
Black is the strongest of the neutral colors. On the positive side, it’s commonly associated with
power, elegance, and formality. On the negative side, it can be associated with evil, death, and
mystery. Black is the traditional color of mourning in many Western countries. It’s also
associated with rebellion in some cultures, and is associated with Halloween and the occult.
In design, black is commonly used for typography and other functional parts, because of its
neutrality. Black can make it easier to convey a sense of sophistication and mystery in a design.
b) White
White is at the opposite end of the spectrum from black, but like black, it can work well with just
about any other color. White is often associated with purity, cleanliness, and virtue. In the West,
white is commonly worn by brides on their wedding day. It’s also associated with the healthcare
industry, especially with doctors, nurses and dentists. White is associated with goodness, and
angels are often depicted in white.
In much of the East, however, white is associated with death and mourning. In India, it is
traditionally the only color widows are allowed to wear.
In design, white is generally considered a neutral backdrop that lets other colors in a design have
a larger voice. It can help to convey cleanliness and simplicity, though, and is popular in
minimalist designs. White in designs can also portray either winter or summer, depending on the
other design motifs and colors that surround it.

c) Gray
Gray is a neutral color, generally considered on the cool end of the color spectrum. It can
sometimes be considered moody or depressing. Light grays can be used in place of white in
some designs, and dark grays can be used in place of black.
Gray is generally conservative and formal, but can also be modern. It is sometimes considered a
color of mourning. It’s commonly used in corporate designs, where formality and
professionalism are key. It can be a very sophisticated color. Pure grays are shades of black,
though other grays may have blue or brown hues mixed in. In design, gray backgrounds are very
common, as is gray typography.
d) Brown
Brown is associated with the earth, wood, and stone. It’s a completely natural color and a warm
neutral. Brown can be associated with dependability and reliability, with steadfastness, and with
earthiness. It can also be considered dull.
In design, brown is commonly used as a background color. It’s also seen in wood textures and
sometimes in stone textures. It helps bring a feeling of warmth and wholesomeness to designs.
It’s sometimes used in its darkest forms as a replacement for black, either in backgrounds or
typography.
e) Beige
Beige is somewhat unique in the color spectrum, as it can take on cool or warm tones depending
on the colors surrounding it. It has the warmth of brown and the coolness of white, and, like
brown, is sometimes seen as dull. It’s a conservative color in most instances, and is usually
reserved for backgrounds. It can also symbolize piety.
Beige in design is generally used in backgrounds, and is commonly seen in backgrounds with a
paper texture. It will take on the characteristics of colors around it, meaning it has little effect in
itself on the final impression a design gives when used with other colors.
f) Ivory and cream
Ivory and cream are sophisticated colors, with some of the warmth of brown and a lot of the
coolness of white. They’re generally quiet, and can often evoke a sense of history. Ivory is a
calm color, with some of the pureness associated with white, though it’s a bit warmer.
In design, ivory can lend a sense of elegance and calm to a site. When combined with earthy
colors like peach or brown, it can take on an earthy quality. It can also be used to lighten darker
colors, without the stark contrast of using white.
CONCLUSION:
Red: Passion, Love, Anger
Orange: Energy, Happiness, Vitality
Yellow: Happiness, Hope, Deceit
Green: New Beginnings, Abundance, Nature
Blue: Calm, Responsible, Sadness
Purple: Creativity, Royalty, Wealth
Black: Mystery, Elegance, Evil
Gray: Moody, Conservative, Formality
White: Purity, Cleanliness, Virtue
Brown: Nature, Wholesomeness, Dependability
Tan or Beige: Conservative, Piety, Dull
Cream or Ivory: Calm, Elegant, Purity
Color Schemes/Harmonies
They are a combination of colors on a color wheel.

1. MONOCHROMATIC

Monochromatic color schemes are made up of different tones, shades and tints within a specific
hue. These are the simplest color schemes to create, as they’re all taken from the same hue,
making it harder to create a jarring or ugly scheme (though both are still possible).
Monochromatic schemes are easy to create, but can also be boring when done poorly. Adding in
a strong neutral like white or black can help keep things interesting.
 2. ANALOGOUS

Analogous color schemes are the next easiest to create. Analogous schemes are created by using
three colors that are next to each other on the 12-spoke color wheel. Traditionally, analogous
color schemes all have the same chroma level, but by using tones, shades, and tints we can add
interest to these schemes and adapt them to our needs for designing websites.

3. COMPLEMENTARY

Complementary schemes are created by combining colors from opposite sides of the color wheel.
In their most basic form, these schemes consist of only two colors, but can easily be expanded
using tones, tints, and shades.
A word of warning, though: using colors that are exact opposites with the same chroma and/or
value right next to each other can be visually jarring (they’ll appear to actually vibrate along their
border in the most severe uses). This is best avoided (either by leaving negative space or by
adding another, transitional color between them).

4. SPLIT COMPLEMENTARY

Split complementary schemes add more complexity than regular complementary schemes. In this
scheme, instead of using colors that are opposites, you use colors on either side of the hue
opposite your base hue: two colors opposite one on a color wheel.

5. TRIADIC

Triadic schemes are made up of hues equally spaced around the 12-spoke color wheel. This is
one of the more diverse color schemes. They can be difficult to do well, but add a lot of visual
interest to a design when they are.
Conclusion
  Hue is color (blue, green, red, etc.).
 Intensity refers to the brightness of a color (high intensity very bright, low intensity dull)
 Chroma is the purity of a color (a high chroma has no added black, white or gray).
 Saturation refers to how strong or weak a color is (high saturation being strong).
 Value refers to how light or dark a color is (light having a high value).
 Tones are created by adding gray to a color, making it duller than the original.
 Shades are created by adding black to a color, making it darker than the original.
 Tints are created by adding white to a color, making it lighter than the original.

END OF LESSON

2. LINES

 Strokes that show motion and connect two points.

 Its an elongated mark
 It is one of the most crucial elements, as everything begins with just a simple dot in space
that transforms into lines and then drawings. Lines are everywhere.
There are 5 main types of lines in art:
 Vertical lines.
 Horizontal lines.
 Diagonal lines.
 Zigzag lines.
 Curved lines.
Other types of lines are simply variations of the five main ones.
Types of Lines in Art: Meaning and Examples
Vertical lines are straight up and down lines that are moving in space without any slant and are
perpendicular to horizontal lines. They suggest height and strength because they extend towards
the sky and seem unshakeable.

Horizontal lines are straight lines parallel to the horizon that moves from left to right. They
suggest width, distance, calmness, and stability.
Diagonal lines are straight lines that slant in any direction except horizontal or vertical. When in
use, they suggest movement or lack of stability.

Zigzag lines are a series of diagonal lines joined at ends. They can convey action and excitement,
as well as restlessness and anxiety.

Curved lines are lines that bend and change direction gradually. They can be simply wavy or
spiral. Such lines convey the feelings of comfort and ease, as well as sensual quality as they
remind us of the human body.

How to Get Variations of Lines in Art

The 5 main types of lines are the beginning of all sorts of amazing and unique lines! To get more
line variations, refer to tools such as length, width, weight, texture, style, direction, the degree of
curve or all of the above combined.
Length in lines can be long (tall, strong, far) or short (small, cute, close).

Width in lines goes from thin (delicate, slim, lightweight) to thick (strength, weight, power).

Weight in lines means the continuous change of width. By varying the weight, one can capture
energy, movement and even suggest when one object is in front of the other.

Texture in lines defines how smooth or rough it is. Varying it can simply mean changing your
working medium (for example, going from marker to charcoal or changing your digital brush).

Style of lines refers to continuous, dotted, dashed or implied lines. Continuous or implied lines
are great for leading the eye of the viewer in the direction you want them to go. Dashed or dotted
lines are great for patterns, energy and calling for attention.

If we combine all of these variations into one, we get a unique looking line that serves a purpose.
Uses of lines
Used to show movement
Suggest the outline of shapes and objects
Show mood and atmosphere

3. Form/shape
A form is a shape in three dimensions.
Shape is the form of an object or its external boundary, outline, or external surface, as opposed to
other properties such as color, texture or material type.
Form shows an object in space, the mass or positive space it occupies.
The term form is usually used when describing 3-D (3 dimensional) objects.

There are three basic types of shapes:

 Geometric
 Abstract
 Organic forms
Geometric forms are forms that are mathematical, precise, and can be named, as in the basic
geometric forms: sphere, cube, pyramid, cone, and cylinder. They are typically man-made.
A circle becomes a sphere in three dimensions, a square becomes a cube, a triangle becomes a
pyramid or cone. Geometric forms are most often found in architecture and the built
environment, although you can also find them in the spheres of planets and bubbles.

Organic forms: also known as Natural shapes. They are more random. Often they don’t have
structure. It is free form and usually taken from the nature surround us. This can be from things
like rocks, clouds, leaves, people, trees, the moon, etc.
They are those that are free-flowing, curvy, sinewy, and are not symmetrical or easily
measurable or named.

Abstract shapes are created by abstracting the most basic and recognizable aspects of a real-life
shape and creating a simplified representation of it.
Abstract shapes play an important part of modern design. Examples of abstract shapes include:
icons, graphic and representations.
Abstract shapes are heavily used in graphic design because they hold meaning, just like the
stylized people on bathroom signs.
They signify something to us, whether it is where to park or what bathroom to use, but abstract
shapes can go beyond this. For example, abstract shapes are heavily used in logos.
Logos create a simple visual representation to help people identify a company and remember the
reference easily.

MEANING OF SHAPES.
Circles, like when you combine them and create the number 8, have no start and end. The shape
has strong cultural associations and encompasses concepts like eternity, unity and also harmony.
This shape is usually seen as warm and comforting.
Use circles in your design if you would like to also speak about community, connections and
also love.
Squares and rectangles speak of certainty. If you want to speak about equality, to be trusted and
of course want to speak about things being in order and bonding with each other, squares and
rectangles can be a good option.
Triangles, because they can be symmetrical and non symmetrical, are used to represent things
that are dynamic. Use this shape if you want to be seen as having direction, action, masculinity
and energy.
So what about how people interpret natural and abstract shapes?
Natural shapes are usually more pleasing and comforting. Everything is in close relation to
nature, which is why it has become so popular with architects recently. Natural shapes convey
the feeling of spontaneousness. Meanwhile abstract shapes usually convey a more universal,
neutral message.
As always, if you are designing, simple is best. Keep your background clean when you are using
shape(s). Play with the opacity to make the sense of light. Don’t play with too many shapes in
one design otherwise you might lose the message that you want to convey.
TEXTURE

Texture is defined as the surface feel.

Means the surface appearance, visual property or Feel of the substance.
Basically Texture refers to how an object feels when you touch it.
Texture can be tactile or visual
Tactile texture refers to the texture you can feel with your hand once you touch a given surface
while visual texture refers to that texture that you can only perceive with your mind eg a fabric
surface with prints of a concrete wall.
There are four types of texture in art:

 Actual,
 Simulated,
 Abstract,
 Invented texture.

Actual Texture in Art

Actual texture is the physical feel an artwork has. From the silky texture of the paint to the rough
texture of stone, artists use texture to add interest, create emphasis and expression, and add
deptht
Simulated texture 

Simulated texture is the type that is created to look like something it is not. For example, in
drawing or painting of a cat where its fur is made to look like real fur.o their work.

Abstract
Abstract Texture. A texture devised from the appearance of an actual surface but rearranged
and/or simplified by the artist to satisfy the demands of the artwork. Actual texture. a surface
that can be experienced through the sense of touch (as opposed to a surface visually stimulated
by the artist)
Invented texture

The invented texture is a creative way of adding alternate materials to create an interesting
texture. This texture typically appears in abstract works, as they are entirely non-objective.

Textures can be

• Smooth
• Fine
• Supple
• Lustrous
• Metallic
• Transparent
• Rough
• Coarse
• Stiff
• Dull
• Stony
• Opaque

Texture affects color, drape (the way in which a garment or fabric hangs on the body of the
wearer) and silhouette
Some fabrics will drape well, while others can be tailored and molded to your figure.
Clinging fabrics like chiffon will reveal the contours of the body. Suitable for feminine figure
Heavy textures would add bulk, making it unsuitable for short and stout (heavily built or thick
figures)
Soft textures would serve best for style with gathers.

THE PRINCIPLES OF DESIGN

• Proportion (Scale)
• Balance
• Emphasis
• Rhythm
• Harmony
Proportion

• Proportion is the relationship between objects, or parts, of a whole.

Proportion

• Elements seem to be an appropriate size for the space they fill.

The ratio of one part to the whole.

Things just look right.

Proportion is the ratio of one part to another part or to the whole. It involves shape, size, and
visual weight of an object.

BALANCE

Balance in art is one of the basic principles of design, along with contrast, movement,
rhythm, emphasis, pattern, unity, and variety. Balance refers to how the elements of art (line,
shape, color, value, space, form, texture) relate to each other within the composition in terms of
their visual weight to create visual equilibrium. That is, one side does not seem heavier than
another.

Types of Balance

There are three main types of balance that are used in art and design: symmetrical, asymmetrical,
and radial. Symmetrical balance, which includes radial symmetry, repeats patterns of forms
systematically. Asymmetrical balance counterbalances different elements that have equal visual
weight or equal physical and visual weight in a three-dimensional structure. Asymmetrical
balance is based more on the artist's intuition than on a formulaic process.
 1. Symmetrical Balance
Symmetrical balance is when both sides of a piece are equal; that is, they are identical or almost
identical. Symmetrical balance can be established by drawing an imaginary line through the
center of the work, either horizontally or vertically, and making each half identically or very
visually similar. This kind of balance creates a sense of order, stability, rationality, solemnity,
and formality. Symmetrical balance is often used in institutional architecture (government
buildings, libraries, colleges, and universities) and religious art.
Symmetrical balance may be a mirror image (an exact copy of the other side) or it may be
approximate, with the two sides having slight variations but being quite similar.
2. Radial Symmetry
Radial symmetry is a variation of symmetrical balance in which the elements are arranged
equally around a central point, as in the spokes of a wheel or the ripples made in a pond where a
stone is dropped. Thus, radial symmetry has a strong focal point.
Radial symmetry is often seen in nature, as in the petals of a tulip, the seeds of a dandelion, or
in certain marine life, such as jellyfish
3. Asymmetrical Balance
In asymmetrical balance, the two sides of a composition are not the same but appear to have an
equal visual weight nonetheless. Negative and positive shapes are unequal and unevenly
distributed throughout the artwork, leading the viewer's eye through the piece. Asymmetrical
balance is a bit more difficult to achieve than symmetrical balance because each element of art
has its own visual weight relative to the other elements and affects the whole composition.  
For example, asymmetrical balance can occur when several smaller items on one side are
balanced by a large item on the other side, or when smaller elements are placed farther away
from the center of the composition than larger elements. A dark shape can be balanced by several
lighter shapes.
Asymmetrical balance is less formal and more dynamic than symmetrical balance. It may appear
more casual but takes careful planning.
EMPHASIS

Emphasis is a principle of art which refers to the use of visual elements to draw attention to a
certain area, usually a focal point, in an artwork.

There are many ways you could go about using emphasis in your art. Usually, it involves
contrasting different elements against each other. For example, a bright, red object will stand out
amongst a dull gray background. Or a straight line amongst curved lines. Or a round object
amongst circular objects. Emphasis creates a center of interest Also referred to as a Focal Point

RHYTHM

Rhythm in art refers to the arrangement of shapes in a way which creates an underlying beat. It is
similar to the rhythm of music, but instead of notes and sounds, we use colors and shapes.

Rhythm refers to the movement or the visual flow within a certain piece.

It is sometimes also referred to as a tempo or a beat created that invites the eye to enter into the
journey of the artist’s soul displayed on the canvas, or to help the eye travel and reach its point of
focus.

Like in music, the rhythm in the art can vary in its speed.

There are certain compositions that seem more static, calmer, and more relaxed, producing the
feeling of peace, order, and structure, while on the other hand, certain works produce a sense of
chaos, disorder, and loss of balance that most of us would link to the inner expressions of the
artists’ soul

HARMONY
 Harmony is achieved when Unity and Variety are effectively combined.
Harmony is the visually satisfying effect of combining similar or related elements.
 Adjacent colors
 Similar shapes
 Related textures

Harmony in a painting or design helps bring about unity. All harmony and no contrast, however,
can become monotonous. A balance must be struck between areas of harmony and areas of
contrast.

FABRIC DESIGN

It is essentially the process of creating designs for woven, knitted or printed fabrics or surface
ornamented fabrics. Textile designers are involved with the production of these designs, which
are used, sometimes repetitively, in clothing and interior decor items.
The field encompasses the actual pattern making while supervising the production process.In
other words, textile design is a process from the raw material into finished product. Fiber, yarn
and finishes are the key elements to be considered during the textile design procedure.

EXTRACTION OF NATURAL DYES

Methods

1. Aqueous extraction
2 .Acid and alkali extraction
3 .Ultrasonic microwave extraction
4 .By fermentation
5 .Solvent extraction
Extraction of natural dyes

The amount of natural dyes present in natural products is very less. They need specific technique
to remove dye from their original source. Here there are some methods which are suitable for
extraction of natural dyes from their source materials the different extraction methods are as
follows:

1 Aqueous extraction

In this method, the dye containing materials are broken into small pieces or powdered and then
soaked in water overnight. It is boiled and filtered to remove non-dye materials. Sometimes
trickling filters are also used to remove fine impurities. The disadvantages of this technique are
that during boiling, some of the dye decomposes. Therefore, those dyes which do not decompose
at boiling temperature are suitable by this method. The molecules should be water soluble.

2 Acid and alkali extraction

Most of the natural dyes are glycosides; they can be extracted under acidic or alkaline conditions.
Acidic hydrolysis method is used in extraction of tesu natural dye from tesu flower. Alkaline
solution is suitable for those dyes which contain phenolic groups in their structure. Dyes from
annatto seeds can be extracted by this method. The extraction of lac dye from lac insect and red
dye from safflower is also done by this method.

3 Ultrasonic microwave extractions

Microwave and ultrasonic waves are helpful in extraction of natural dyes. This technique is
having several advantages over aqueous extraction. In this technique less quantity of solvent
(water) is required in extraction. The treatment is done at lower temperature and less time as
compared to aqueous extraction. Ultrasonic and microwaves are sent in aqueous solution of
natural dye, which accelerate the extraction process.

4 By fermentation

In the presence of bio enzymes the fermentation of natural color bearing substances becomes
faster, and the extraction of natural dyes takes place. Indigo extraction is the best example of
fermentation method of extraction. Enzymes break glucoside indican into glucose and indoxyl by
the indimulsin enzyme. Amatto natural dye extraction is also done by enzyme method. Cellulose,
amylose and pectinase are having application in the natural dye extraction from the bark, stem
and roots.

5 Solvent extraction

There is use of organic solvents such as acetone, petroleum, ether, chloroform and ethanol in the
extraction of natural dyes. It is a very viable technique as compared to aqueous extraction. The
yield of dye is good, and the quantity of water requirement is less. The extraction is done at
lower temperature.

Tie and dye

Tie-dye is a process of tying and dyeing a piece of fabric or cloth which is made from knit or
woven fabric, usually cotton; typically using bright colors.

Tie and dye techniques

Crumple Tie Dye Technique

lay the fabric flat.
Begin scrunching the fabric together with your fingers.
Continue scrunching the fabric until you have everything in a crumpled mound.
Secure tightly with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Shibori Tie Dye Technique
lay the fabric flat.
Roll the fabric around a tube – we used a paper towel roll.
Tightly scrunch both ends of the fabric toward the center.
Secure with rubber bands.
Apply the dye to the fabric.
Rotate the tube and continue applying the dye until the fabric is completely saturated
Sunburst Tie Dye Technique
Lay the fabric flat.
Fold the fabric in half.
Fold the fabric in half, again, lengthwise.
To create the sunbursts pinch the fabric and pull upward, 1 to 2 inches. Secure the fabric with a
rubber band and repeat for the desired number of sunbursts.
Apply the dye to the outer edges of the fabric, the fabric between each sunburst and the center of
each sunburst.
Stripes Tie Dye Technique
Lay the fabric flat.
Accordion fold the fabric from the bottom up.
Secure with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Spiral Tie Dye Technique
Lay the fabric flat.
Pinch the fabric in the center.
Begin twisting the fabric in a circular motion and continue until all of the fabric is in a spiral
shape.
Secure the spiral with three rubber bands, creating a wedge effect, as shown above.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.

One Color Spiral Tie Dye Technique

Lay the fabric flat.
Pinch the fabric in the center.
Begin twisting the fabric in a circular motion and continue until all of the fabric is in a spiral
shape.
Tightly secure the spiral rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Bullseye Tie Dye Technique
Lay the fabric flat.
Pinch the fabric in the center.
Pull the fabric upward into a cone shape.
Secure with rubber bands.
Apply the dye in sections.
Flip the fabric over and repeat on the backside.

* For this particular design one color of dye was used.  Dye was applied to each section, leaving
the fabric near each of the rubber bands untouched. The fabric was then flipped over and the dye
was repeated on the backside. As the dye processes, it will seep through the fabric and create
the ombre effect, shown above.
Folded Tie Dye Technique
Lay the fabric flat.
Fold the fabric in half.
Fold the fabric in half again,  then fold in half once more.  At this point you will have a rectangle
shape.
Fold the fabric in thirds.
Apply one color dye to the outer folded edges – then using a second color, apply dye to the four
corners and the center.
Flip the fabric over and repeat on the backside.
Diamond Pattern Folded Tie Tye Technique
Lay the fabric flat.
Accordion fold the fabric from the bottom up.
At this point you will have a long strip of folded fabric.
Turn the strip in a vertical position and fold the bottom corner of the fabric at a 90-degree angle,
creating a triangle shape.
Using that triangle shape as a guide, repeat an accordion fold until you are left with a single
‘triangle’ of fabric – as shown above.
Tightly secure the triangle with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Accordion Folded Stripe Pattern Tie Dye Technique
Lay the fabric flat.
Accordion fold the fabric from the bottom up.
At this point you will have a long strip of fabric. Fold the fabric in half.
Secure the fabric with four rubber bands, evenly spaced as shown above.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Folded Accordion Stripe Pattern Tie Dye Technique
Lay the fabric flat.
Accordion fold the fabric from the bottom up.
At this point you will have a long strip of fabric. Fold the fabric in half.
Then fold the fabric in half again.
Tightly secure the fabric with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Box Pattern Tie Dye Technique
Lay the fabric flat.
Accordion fold the fabric from the bottom up. This fold can be as wide as you like – ours was
about 4 inches.
At this point you will have a long strip of fabric.
Turn the strip in a vertical position and fold the bottom edge of the fabric up, creating a square.
Using that square shape as a guide, repeat an accordion fold until you are left with a single
‘square’ of fabric – as shown above.
Tightly secure the fabric with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Banded Box Pattern Tie Dye Technique
Lay the fabric flat.
Accordion fold the fabric from the bottom up. This fold can be as wide as you like – ours was
about 4 inches.
At this point you will have a long strip of fabric.
Turn the strip in a vertical position and fold the bottom edge of the fabric up, creating a box
shape.
Using that box shape as a guide, repeat an accordion fold until you are left with a single ‘box’ of
fabric – as shown above.
Tightly secure the boxed fabric with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Simple Folded Pattern Tie Dye Technique 
Lay the fabric flat.
Fold the fabric in half.
Fold the fabric in half again,  then fold in half once more.  At this point you will have a rectangle
shape.
Accordion fold the fabric into thirds, back to front – front to back.
Tightly secure the fabric with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.

Accordion Folded Box Pattern Tie Dye Technique

Lay the fabric flat.
Accordion fold the fabric from the bottom up. This fold can be as wide as you like – ours was
about 4 inches.
At this point you will have a long strip of fabric.
Turn the strip in a vertical position and fold the bottom edge of the fabric up, creating a box
shape.
Using that box shape as a guide, repeat an accordion fold until you are left with a single ‘box’ of
fabric – as shown above.
Tightly secure the boxed fabric with rubber bands.
Apply the dye to the fabric.
Flip the fabric over and repeat on the backside.
Two Step Accordion Fold Tie Dye Technique
Lay the fabric flat.
Fold the fabric in half.
Accordion fold the fabric from the bottom up.
Fold the fabric in half again.
Roll the edges inward, in a v-like shape and tightly secure the fabric with rubber bands.
Apply one color of dye to the fabric.
Flip the fabric over and repeat on the backside.
Let it sit and process.
Go back and apply a second color to the folded tips only.

DRAWING

Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or
another two-dimensional medium.

Drawing, the art or technique of producing images on a surface, usually paper, by means of

marks, usually of ink, graphite, chalk, charcoal, or crayon.
Rendering techniques

 Hatching
 Cross hatching
 Stippling
 shading
Hatching

Hatching involves making tiny ticks on your page. Make sure that each mark is parallel to the
other. Lines that are close together will look darker, while lines further apart will indicate
highlights
Cross hatching

This technique is the logical extension to hatching. But instead of creating a series of parallel
lines, have your marks intersect one another in a cross-like formation.

Stippling

For those who love meticulous processes, this one’s for you. Stippling involves making a
countless amount of tiny dots on your paper. Like all other approaches, the closer the dots, the
darker the drawing.

Shading

The darkening or coloring of an illustration or diagram with parallel lines or a block of color

Scribble

Scribbling allows your hand the opportunity to fly across the page. Move your pencil in a
random formation—no precise marks necessary. The more you scrawl all over an area, the darker
it will look.

Perspective

It is what gives a three-dimensional feeling to a flat image such as a drawing or a painting. In art,
it is a system of representing the way that objects appear to get smaller and closer together the
farther away they are from the viewer

Perspective is used to represent the ways objects appear smaller as they move farther into the
distance. It adds depth and dimension to flat images.
• In art, there are three types of perspective: one-point, two-point, and three-point.
Important Art Terms Related to Perspective

Before explaining how to use the One and Two Point Perspective drawing techniques, I would
like to just mention a few key art terms we need to be able to understand. 

1. Horizon Line
This is the line that separates sky from land (in landscapes) or sky from water (in seascapes). It is
also referred to as the "eye-level" of the viewer. The Horizon Line doesn't necessarily have to be
right in the middle of your picture. In fact, it is a lot better, compositionally speaking, if it is
somewhere below or even above the halfway point of your drawing area.

2. Vanishing Point
The Vanishing Point is placed somewhere on the Horizon Line and it represents the farthest point
in your picture. There can be a number Vanishing Points (One Point Perspective has one, Two
Point Perspective has two and Three Point Perspective has three). When creating a grid, this
point is were the Orthogonal Lines all meet. 

3. Orthogonal Lines
Orthogonal Lines (also known as Convergence or Vanishing Lines) are key when drawing
perspective. They are diagonal and recede back into the vanishing point(s). A perspective grid
can have many Orthogonal Lines or very few of them, depending on the complexity of the
picture. The more elements in the picture, the more lines you will probably have to include in
your grid. 

4. Transversal Lines
These are completely horizontal or vertical lines that are either parallel or perpendicular to the
horizon line. They form rectangles or right angles along the grid and are especially useful when
drawing interiors (I will provide you with an example in a bit). 

5. Vantage Point 
The Vantage Point refers to the specific place from which a scene is viewed. This point can
actually be very high (referred to as bird's-eye) or very low (referred to as worm's-eye). It is
crucial to decide where the Vantage Point is going to be in the very beginning because this will
affect the placement and size of all elements within the composition

LETTERING

To be specific, lettering is the art of letter drawing when a word or phrase is presented as an
artwork. Each letter is drawn in an original way and together they form a unique composition.
Lettering masters usually work by hands using various pencils, brushes, ink, or chalk. Some may
prefer applying graphic tablets and stylus but it can be more challenging because it requires
advanced skills in special programs like Adobe Illustrator. A distinctive characteristic of hand
lettering is that an artwork can be carefully developed as well as absolutely spontaneous.

WIRE SCULPTURE

It is the creation of sculpture or jewelry (sometimes called wire wrap jewelry) out of wire. The

use of metal wire in jewelry dates back to the 2nd Dynasty in Egypt and to the Bronze and Iron
Ages in Europe.In the 20th century, the works of Alexander Calder, Ruth Asawa, and other
modern practitioners developed the medium of wire sculpture as an art form.

Materials used

For most people who start out working with wire it is not cost effective to jump straight to the
precious metals such as silver or gold. Therefore, less expensive craft wires made from softer
materials such as brass, copper, aluminum, or gold fill can be used. The artist typically first gains
experience exploring form while learning the feel of the wire. There are many ways wire can be
handled and wrapped. Progression can be made to the more expensive metals such as 925
sterling silver and 14k gold filled wire.
ARMATURE,

Armature, in sculpture, a skeleton or framework used by an artist to support a figure being

modeled in soft plastic material.
An armature can be made from any material that is damp-resistant and rigid enough to hold such
plastic materials as moist clay and plaster, which are applied to and shaped around it.

Pieces of thick wire, a few blocks of wood nailed together, or a galvanized iron pipe secured to a
baseboard can serve as the armature for a life-sized head or a small standing figure.

Larger pieces of sculpture are supported by more complicated armatures constructed of lead
pipe, iron rods, or pipes and wood.

A combination of these materials is used in the huge armatures required for monumental
sculpture. Armatures for large models were used as early as the Renaissance.