Design Principles Task II: Visual Analysis
MODULE GCD60804: Design Principles
22/02/2024 - 07/03/2024 : Week 3 - Week 5
Bachelor of Design (Hons) in Creative Media
Task II: Visual Research
MODULE INSTRUCTION:
“FEB - APR 2024: GCD 60804 / DESIGN PRINCIPLES MODULE INFORMATION BOOKLET”
MAIN TASK II: Design Analysis (Week 3 - 5)
Design Analysis: In this upcoming task, students within the cohort are expected to properly assess, investigate, document and analyse the previously selected existing art/design in Task I. With the existing art/design, students will be expected to study the design principles used within the existing work and discuss each principles effectiveness, purpose & importance as well as how each principle relates to the selected UNSDG previously selected in Task I
MAIN TASK II: Design Analysis (Week 3 - 5)
WEEK 3: Recapping the previous Task
In order to continue with the Design Principle Module, students in the cohort would need to take their work from the previous weeks (mainly the analysis of an existing piece) and use it to take a more in-depth study of their selected piece. For Task II, students will mainly be looking at the Design Principles found within their piece and will need to explain not only how they are implemented but also why they are important - relating to the original message of the piece (which should be in line with the chosen United nations Sustainable Development Goal.) It is important to note that, even though this Task requires a more in depth study, students are still limited with a set word-limit (350 words.) With this, students need to learn how to accurately determine & describe design principles in a short, concise manner.
To provide a short recap for the previous weeks’ task & briefing; students were instructed to conduct a brief exploration in Design Principles. After the students were comfortable with the terms & knowledge discussed, they were to apply their knowledge to an existing piece of work in relation to one of the United nations Sustainable Development Goals (UNSDG.) Students would then need to write a brief explanation (150 words,) mentioning the use of Design Principles found within the piece as well as its connection to the chosen UNSDG.
For my task, I decided to focus on “UNSDG 01: Ending Global Poverty” as observed through the lens of two older pieces of art. The first piece I looked at was H.A. Brendekilde’s “Worn Out” - an older (1889) Oil-Painting depicting an impoverished farming family. From my perspective, the piece relates to the chosen UNSDG as it shows the harmful effects of poverty on the human Condition. Being an example of “Realism Art Movement,” I believed it was more impactful (especially for the time) choosing to focus on the less-romanticised aspects of the human experience. The second piece was Ilya Repin’s “Barge Haulers” - an even older (1870-1873) Oil-Painting depicting the labour performed by incredibly impoverished individuals. From my perspective, this piece relates to the chosen UNSDG as it shows how the impoverished are taken advantage of - often working in harmful conditions in order to support themselves or their families. Again, I believe that this piece was more impactful due to it being an example of “Realism Art Movement” however, this painting is from a foreigner - suggesting how other people may view ones’ home country for not caring about the impoverished.
As Mentioned in the statement before the recap, Task II would serve as a more in-depth analysis of the selected piece; mainly investigating the Design Principles mentioned in the previous Task. considering I had chosen to investigate at two separate pieces, I would need to pick only one and continue analysing in order to support me for the final Task. Because of its perceived value and interesting choices, I would choose to work with H.A. Brendekilde’s “Worn Out.”
“Udslidt” by H.A. Brendekilde - 1889, Acadeism Social-Realism Oil-Painting, 207 × 270 cm”
Provided by tosommerfugle.blogspot.dk, Public Domain, wikimedia
WEEK 4 - 5: Analysing H.A. Brendekilde’s “Worn Out”
Brief Recollection: “Udslidt” is a Nineteenth Century Oil-painting, popularised by its association with the ‘Social-Realism Movement’ & its subject matter of impoverished labourers. For this piece, Brendekilde was able to convey the Negative effects of Poverty to the higher-class, using the core Design Principles: Emphasis, Contrast and Balance.
The Danish painter created a powerful and poignant masterpiece; his work exemplifying the “social realism movement” he later be credited with spear-heading. The piece aimed to depict the true conditions of life, especially among the impoverished. “Worn Out” was originally exhibited at the Exposition Universelle in Paris in 1889, earning a ‘Silver Palais des Beaux Arts medal’ and gained further recognition as it also appeared at The World’s Columbian Exposition in Chicago in 1893. The painting achieved acclaim for its portrayal of the impoverished factions & human struggle created by it - resonating with viewers. Ultimately Brendekilde’s influence extended beyond his art. He often would advocate for social change. His commitment to depicting rural life and the working class left a lasting impact on artists of the time - leading to the gradual movement where art should instead depict reality in a less romantic-fashion.
Design Aspects: Emphasis is an important element in this composition, suggesting where the audience should focus to get the intended message. In this piece, Brendekilde includes a series of guiding lines found within the field - enclosing around the figures while directing the audience's eyes. This makes the audience focus on the subjects while suggesting the importance of the scenery. Furthermore, additional emphasis has been placed on the figures due to them having a vibrant palette while the scene is mainly desaturated. Focusing on a distressed woman in a field put more emphasis on the situation - an impoverished deceased in a farmer’s field.
Audiences can further determine that the figures are the main subject as well as providing additional information through the use of Contrast. Continuing with the use of colour, the main figure stands-out due to their vivid colours however, it's important to note that they also possess colours similar to the field, associating them with the field. Additional contrast can be observed in the types of strokes presented: small & plentiful strokes found mainly with figures & building; rendering them in higher quality. The field however, is painted in large & less-frequent strokes - suggesting its secondary importance to the message.
Finally, Brendekilde uses Balance - the organisation & presentation found within the composition to stress the importance of the figures & their connection to the field. Using the Rule of Thirds, it suggests that the scene focuses both on the figures & field as the painting is bottom-dominant due to the frequency of details. Ultimately, these details combined together to present a minor narrative of an impoverished man who’s dying to maintain his field - the woman’s expression creating empathy felt by most viewing audiences. It highlights the extent the less-fortunate are willing to go to ensure their capital - being taken advantage of by the higher-class while working to their deaths.
Visual Analysis Summary:
Phase I - Design Observation:
This piece is in landscape format. Centrally-aligned, there is a collapsed man being supported by a distressed woman. Their clothes appear to be tattered & stitched together. For the scenery, the figures appear to be in a farming field, littered with rocks & patches of grass. In the top left, there is a series of white buildings in front of a forest. The sky is overcast. For visual elements, the main colours observed are a vivid Red & Blue contrasting with a brown-beige. Some brush strokes with harder force, creating texturing.
Word Count: 89
Phase II - Design Analysis:
The painting is asymmetrically balanced. Emphasis is placed on the two figures in the central image: The woman’s face is rendered with smaller strokes compared to the harsher background (texture) & possessing colour highly contrasting the desaturated scenery (colour.) She is holding the body of a collapsed man (movement), leading viewers to the man - suggesting importance. The field has a series of natural lines which radiate out from the figures (movement) leading to further exploration. Near the horizon line on the left, a series of small houses near a forest clearing; its position making it feel forgotten(Balance.) There is proportion in the layout, creating hierarchy – first, we see the image in the biggest size - the figures, followed by the smaller details such as the houses.
Word Count: 125
Phase III - Design Interpretation:
This is an oil-painting designed and presented in the ‘Palais des Beaux Arts’ in Lille, France during the late 1800s & early 1900s. The painting’s style reflects the “Social-Realism Movement,” a historical European style of the 19th & 20th century depicting everyday living (both good & bad.) As Brendekilde was one of the founding developers of the ‘Movement’ & was actively caring for the disadvantaged, it makes sense that this style is incorporated into this Painting’s design. Beyond its visual purpose, this piece had semi-political implications, using high-class art to spread awareness to help the suffering. This painting was carefully designed and has become famous for inspiring the ‘Movement.’ Not only does it reflect the artistry of “Professional Acadeism” but it also reflects the recognition of power art has & artistic freedom which were uncommon of the times.
“People by the road” by H.A. Brendekilde - 1893, Acadeism Social-Realism Oil-Painting, 200 × 263 cm”
Provided by Kunstindeks Danmark & Weilbachs kunstnerleksikon, Public Domain, wikimedia
“Landsbygade i grå vinterstemning” by H.A. Brendekilde - 1890, Acadeism Social-Realism Oil-Painting, Difficult size”
Provided by Unspecified, Public Domain, wikimedia
Word Count: 133
TOTAL WORD COUNT: 347
Working Review & Self-Reflection
WEEK 4: Lecturer’s Feedback
The work produced in the previous week would be satisfactory however, some elements of the assignment are not present (mainly Design Observation & Design Interpretation.) It is recommended to return to working and re-introduce these sections into the work. As for the Design Analysis; the work done was satisfactory & showed understanding in the topic; however, the “350 Word Limit” extends to all three sections combined. When returning to work, it is highly recommended to summarise this section into roughly 100 - 150 words. The choice to include pieces originally is no longer a problem as long as I clarify which piece I intend to use which has been clearly outlined in this post. Continue working & adding the necessary elements.
WEEK 4: Personal Reflection
Similar to the previous week, I wanted to get the majority of this task work completed this week to provide me ample time to make the necessary changes. Additionally, with the escalation of my other subjects, this work-load should support me. Once again, the teacher appeared to be somewhat impressed with my work thus far & was happy I made the necessary changes which he addressed in the previous week (mainly which painting I’m working with.) Despite the good work I’d provided, I’d made a big mistake regarding the ‘Visual Analysis’ phase of the assignment. Basically, I had become too focused on the analysis portion and had completely forgotten about the other two sections - meaning I would need to go back through my work, summarise & then add the missing sections.
WEEK 5: Lecturer’s Feedback
The lecturer mentioned that all students should include a weekly reflection - presenting the fact that students actively met with them. The chosen images are acceptable and are well referenced. Recommended to start working on Task II.
WEEK 5: Personal Reflection
I ultimately decided to re-write the short explanation at the end of each piece as they were more focused on the history rather than their connection to the UNSDG. Additionally, the inclusion of the Design Principles feel more natural rather than tacked on at the end as they previously were.
MAIN TASK I: Bibliography
SECTION I: Design Principles Recap
1. Odense Bys Museer, Kunstindeks Danmark, Weilbachs kunstnerleksikon (Varied) “Udslidt” Worn Out, The Martyr | Wikimedia | https://www.google.com/url?q=https://commons.wikimedia.org/wiki/File:H._A._Brendekilde_-_Udslidt_(1889).jpg&sa=D&source=docs&ust=1709189701527947&usg=AOvVaw1pofoYaoKEsWQ_M5gl300E
SECTION II: Visual Analysis
2. Kunstindeks Danmark, Weilbachs kunstnerleksikon (Varied) “People by the road” | Wikimedia | https://commons.wikimedia.org/wiki/File:H.A._Brendekilde,_En_landevej,_1893,_Kms1468,_Statens_Museum_for_Kunst.tif
3. Odense Bys Museer, Kunstindeks Danmark, Weilbachs kunstnerleksikon (Varied) “Landsbygade i grå vinterstemning” Village street in a grey winter mood | Wikimedia |
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