DESIGN

UNIT
BASIC
 PART 1 PART 2 PART 3 PART PART 5
4
Ways to Unity with Unity at work
Introduction Gestalt
achieve unity variety
 PART 1 PART 2 PART 3 PART PART 5
4
Ways to Unity with Unity at work
Introduction Gestalt
achieve unity variety
 PART 1 PART 2 PART 3 PART PART 5
4
Ways to Unity with Unity at work
Introduction Gestalt
achieve unity variety
 PART 1 PART 2 PART 3 PART PART 5
4
Ways to Unity with Unity at work
Introduction Gestalt
achieve unity variety
 PART 1 PART 2 PART 3 PART PART 5
4
Ways to Unity with Unity at work
Introduction Gestalt
achieve unity variety
PART 1
INTRODUCTIO
N
UNITY
VISUAL
UNITY
Exploring Visual Unity

≠
Karl Blossfeldt. Pumpkin Tendrils. Works of Karl
Blossfeldt by Karl Blossfeldt Archive. Ann and
Jürgen Wilde, eds., Karl Blossfeldt: Working
Collages (Cambridge, MA: MIT Press, 2001).
© 2014 Karl Blossfeldt Archiv/Ann u. Jürgen
Wilde, Köln/Artists Rights Society (ARS), NY.
John Singer Sargent. The Daughters of Edward
Darley Boit. 1882. Oil on canvas, 7' 33/8" × 7' 35/8".
MFA, Boston. Photograph © 2014 Museum of Fine
Arts, Boston, 19.124..
Hoefler & Frere-Jones. Sentinel Font.
 PART 2
GESTAL
T
 The white diagonal is as obvious as the two groups of
We instantly see two groups of shapes.
rectangles.
Grouping similar shapes makes us see a plus sign in the center. The circles seem to form “lines,” and we see an M shape.
Richard Prince. My Funny Valentine. 2001. Acrylic on
silk screen frame, 7' 21/2" × 5' 81/2". Courtesy Barbara
Gladstone Gallery, New York. © Richard Prince.
Charles Granier, architect. Paris Opera House. c. 1861–1875.
 PART
3
WAYS TO
ACHIEVE
UNITY
PROXIMIT
Y
Thomas Eakins. The Swimming Hole. 1885. Oil on canvas, 2' 33/8“× 3' 3/8".
Collection of Amon Carter Museum, Forth Worth, Texas.
El Lissitzky. Of Two Squares: A Suprematist Tale in Six Contructions (Here [Are]
Two Squares). 1922. Shapes and text follow a line of continuation. © 2014 Artists
Rights Society (ARS), New York. Digital Image © The Museum of Modern Art/
Licensed by SCALA/Art Resource, NY.
 Joe Miller’s Design Co. Logo design for space 47.
47 East William Street, San José, California 95112.

Sophie Taeuber-Arp. Composition with Circles Shaped by Curves.

1935. Gouache on paper, 1' 17/8" × 105/8". Kunstmuseum Bern (gift
of Mrs. Marguerite Arp-Hagenbach). © 2014 Artists Rights Society
(ARS), New York/VG Bild-Kunst, Bonn. Photograph courtesy of
Kunstmuseum Bern.
Don Bachardy. UNTITLED II. August 19, 1985. Works on paper
(drawings, watercolors, etc.). Acrylic on paper,
2' 5.9" × 1' 10.4".
Proximity and similarity unify a design. The unity of the same elements is intensified.
Balthus (Balthasar Klossowski de Rola). The Living Room. 1941–1943. Oil on
canvas, 3' 81/2" × 4' 9¾". The Minneapolis Institute of Arts.
Jan Groover. Untitled. 1987. Gelatin-silver print, 1115/16 × 1' 215/16". Janet
Borden, Inc.
2003 BMW Z4 Roadster. Courtesy BMW of North America, LLC.
THE GRID
SERIAL
DESIGN
Using a
Grid
Using
a
Grid
WEB
DESIG
N
 PART 4
UNITY WITH
VARIETY
Paul Klee. New Harmony. 1936. Oil on canvas,
3' 1/4" × 2' 21/8". Solomon R. Guggenheim Museum,
New York. © 2014 Artists Rights Society (ARS), New York.
Photography courtesy of the Solomon R. Guggenheim
Museum, New York.
Robert Rauschenberg, Centennial Certificate.
1969. Color lithograph. Art © Robert
Rauschenberg/Licensed by VAGA, New York,
New York. Digital image © The Metropolitan
Museum of Art/Art Resource, New York.
John Moore. Post. 2011. Oil on canvas, 5' 10" × 5'.
Charley Harper. Original painting for Titmouse Tidbit (Tufted
Titmouse). 1975. Acrylic on canvas, 1' 1" × 1' 2".
Bernd and Hilla Becher. Industrial Facades. 1970–
1992. Fifteen blackand-white
photographs, overall: 5’ 83/4" × 7' 11"
(installed as a group). Albright-Knox Art Gallery,
Buffalo, New York (Sarah Norton Goodyear Fund,
1995).
Eva Zeisel. Classic Century: oil pourer, sauce
boat, salt and pepper. Ceramic. Produced by
Royal Stafford, England.
UNITY
EMPHASI
S ON
UNITY
Grand Mosque, Mecca, Saudi Arabia. More than two
million Muslims prostrate themselves at the Grand
Mosque in Mecca each year during the Hajj..
Ogat Korin. Irises. Edo period, c. 1705. Sixfold screen (one of
pair), 4' 112/5" × 11' 12/5". Nezu Art Museum, Tokyo.
Loretta Lux. Sasha and Ruby. 2005. Ilfochrome print. © 2014 Artists Rights
Society (ARS), New York/VG Bild-Kunst, Bonn. Photography Courtesy of
the Artist and Yossi Milo Gallery, New York.
Jacopo Pontormo. Deposition from the Cross.
Capponi Chapel. Location: S. Felicita, Florence,
Italy.
Elizabeth Murray. Painter’s Progress. Spring 1981. Oil on
canvas, 19 panels, 9' 8" × 7' 9". Acquired through the Bernhill
Fund and gift of Agnes Gund. The Museum of Modern Art,
New York, New York. © 2014 The Murray-Holman Family
Trust/Artists Rights Society (ARS), New York. Digital Image
© The Museum of Modern Art/Licensed by SCALA/Art
Resource, NY.
George Herms. The Librarian. 1960. Assemblage: wood box, papers,
brass bell, books, painted stool, 4' 9" × 5' 3" × 21".
Norton Simon Museum, Pasadena (gift of Molly Barnes, 1969).
 The bland unity of a housing subdivision.

Signs create a visual clutter along old Route 66 in Kingman, Arizona.

Henry Black. London Underground Transit Map. 1931. Based on topological model design.
 PART
5
UNITY AT
WORK
 PAINTIN
G

FILM
Sydney Licht. Edgy. 2013. Oil on panel, 12" × 12".
The Help. Film still. 2011. Dreamworks Studios
THANK YOU
FOR YOUR
TIME!