Relationship between artist and viewer
So, how can you build a better artist/critic relationship with a partner? to our art, remove yourself from it and realize that the viewer is not criticizing you What advice would you give to an artist struggling with criticism from a. It combines advice from art analysis textbooks as well as from high .. help the viewer understand relationships between parts of artwork;. relationship of artists, sitters, patrons, and viewers that characterizes advice to portrait painters concentrates as much on how to make.
As simple as the image is, it already has a sense of motion, and depth. By causing a disparity between the shapes, I've given the viewer a means by which they can compare those shapes. The process of comparing these shapes requires that the viewer moves their eyes repeatedly around the canvas, and therein lies the true goal of a great composition: The idea was started by the ancient Greeks, who were strong believers in the Platonic concept of ideals.
They believed that all things, both tangible and intangible, have a perfect state of being that define them.
They also felt that one should always strive toward achieving this ideal state, be it in mathematics, one's physique, politics or aesthetics. Like implied lines and contrasting values, colour can be used to draw the viewer's eye to anywhere we want Greek mathematicians, after repeatedly seeing similar proportions in nature and geometry, developed a mathematical formula for what they considered an ideal rectangle: They felt that all objects whose proportions exhibited this were more pleasing, whether a building, a face or a work of art.
To this day, books and even credit cards still conform to this ideal. The Rule of Thirds This states that if you divide any composition into thirds, vertically and horizontally, then place the key elements of your image either along these lines or at the junctions of them. You'll achieve a more pleasing arrangement. But does it work?
Dulac was great at using empty space to his advantage, partly because he tended to abide by the Rule of Thirds. Here Dulac has placed the column and the horizon line perfectly along a line of thirds. But what if he didn't?
With the column and horizon line in the centre of the image, the result is less successful. The column dominates the image, stealing focus away from the figures.
The viewer's eye is now glued to this strong shape that bisects the canvas, instead of wandering around the image like it originally did. How the rules work The Rule of Thirds works because it demands that the artist makes one element more dominant than another.
This dominance creates an imbalance, and an imbalance of any sort will always attract the viewer's eye. Bisecting an image perfectly in half creates the least amount of interest, because everything is equally balanced. Look back at those black and grey squares. The first composition is boring because it's too balanced. Making one area of your composition more dominant creates tension, and therefore adds interest. It also makes your eyes move around the canvas more to compare all of these relationships.
The fact that the composition is divided into precise thirds is really of minimal significance. You could divide a composition in fourths, fifths or even tenths. So long as there's some sort of imbalance, the composition will exhibit tension. As you'll soon see, this concept of imbalance applies to many aspects of composition, including value and colour. Implied lines These are probably the most important aspect of a composition, because you notice them first.MADSAKI Thinks "Perfect Art" Is Boring and Talks Relationship With Murakami
When painting realistically, there's no actual line around a subject. The illusion of a contour is a result of different values and colours contrasting.
Hopefully, this will give you an understanding of what actually goes on behind the scenes while creating a professionally designed logo. What is a logo? To understand what a logo is meant to do, we should first know just what a logo is: It's one aspect of a company's commercial brand or economic entity, and a logo's shapes, colors, fonts, and images usually are different from others in a similar market.
Logos are also used to identify organizations and other noncommercial entities. A logo's design should make us immediately recognize the company-it should inspire trust, admiration, loyalty, and an implied superiority.
What makes a good logo? A good logo is distinctive, appropriate, practical, graphic, simple in form, and should convey one message.
12 pro tips to improve your artistic composition | Creative Bloq
An effective logo usually has a concept, or meaning behind the logo, that allows it to communicate the intended message. It should be printable at any size and be effective without color. With these things in mind, it would be safe to say that a great logo usually comes down two things: The design process When creating a logo, follow a logo design process that ensures the final design suits the client's needs not their wants.
Here's a list of what's essential to the logo design process: Start with a questionnaire or interview with the client to get the design brief. Conduct research focusing on the industry, its history, and its competitors. Longevity in logo design is key. Develop the logo design concept s around the above-referenced brief and research. Take breaks throughout the design process to allow your ideas to mature.
This also helps to renew your enthusiasm and get feedback. Position yourself as a contractor or build a long-lasting relationship with the client; for example, the client tells you what to do or you guide the client to the best solution.
The latter is usually best. Present only your best logo designs to your client. PDF format usually works best. You may also wish to show the logo in context to help the client visualize the identity. Drink beer, eat chocolate, sleep, then start on your next project. Getting the job Now that you have an insight into the logo process, let's go through it in more depth, using a recent job as an example. When the CEO of Vero contacted me late last year he found me through my blogthe company was looking for a complete branding package for a new business they were launching.
Not only did they want a logo and identity design, they also required the design of the actual product. After going through the Vero business plan, numerous emails, and having them fill out a questionnaire it's available on my websiteI had a good idea of what the whole project entailed. So, I did the math, sent them a proposal and agreement never call it a contract!
The brief Before walking through the design process, here's some background information on the project along with the design brief. Sparked by environmental concerns, many hotels and restaurants have recently stopped selling bottled water and, instead, they're serving either plain or filtered tap water.
Vero offers restaurants, cafes, and hotels an eco-friendly bottled water alternative.
The company uses the latest in microprocessor-controlled, water-purification technology to purify, chill, and carbonate if needed tap water at the point of use. Without going into too much detail, the brief was to design a "South Beach chic" glass bottle that made people "feel cool drinking it.
In its purest form, the brief was to create a logo that could be placed on a glass water bottle and portray all of these things.
Research and reference After the brief was clarified, the deposit received, and the agreement signed, the research began. This included researching Vero's competitors, the industry, target market, location, other logos, and so on. Only after you've carried out a thorough research should you move on to the design development. Sketching, reflecting, and developing After the client signed off on the bottle shape and tag line "Earth's Purest Drinking Water"the project's next phase was to develop the logo.
And this is where creativity comes into play. Based on the design brief and research conducted, this is where I let my ideas run wild.