Launching the Imagination

Have a Promotion Code?

Please enter it here:

Great deals and more!

Sign up for special offers, exclusive discounts, and new product announcements from McGraw-Hill Professional.



January 7, 2011


Mixed media product, 424 pages


0073379247 / 9780073379241


Your Price



Main description

Launching the Imagination treats design as both a verb and a noun—as both a process and a product. Design is deliberate—a process of exploring multiple solutions and choosing the most promising option. Through an immersion in 2-D, 3-D, and 4-D concepts, students are encouraged to develop methods of thinking visually that will serve them throughout their studies and careers.

Table of contents

Preface xx Introduction xvi Part 1: Two-Dimensional Design Chapter 1: Basic Elements LINE Defining Line Line Quality Actual Lines Implied Lines Linear Networks Using Line Key Questions: Line SHAPE Defining Shape Types of Shape Degrees of Representation Degrees of Definition Key Questions: Representation and Definition Using Shape Key Questions: Shape TEXTURE Types of Texture Creating Texture Texture and Space Trompe L’Oeil Combining Physical and Visual Texture Marks and Meanings Key Questions: Texture VALUE Contrast Value Distribution Value and Volume Value and Space Value and Lighting Key Questions: Value Summary Key Terms Studio Projects Profile: Phillia Yi, Printmaker Chapter 2: The Element Of Color COLOR PHYSICS Additive and Subtractive Color Color Interaction DEFINING COLOR Hue Value Intensity Key Questions: Defining Color HARMONY AND DISHARMONY Monochromatic Color Schemes Analogous Color Schemes Complementary Color Schemes Split Complementary Color Schemes Triadic Color Schemes Chromatic Grays and Earth Colors Using Disharmony Key Questions: Harmony and Disharmony COMPOSING WITH COLOR Creating the Illusion of Space Weight and Balance Distribution and Proportion Color as Emphasis Key Questions: Composing with Color EMOTION AND EXPRESSION Color Keys Symbolic Color The Power of Color Key Questions: Emotion and Expression Summary Key Terms Studio Projects Profile: Ann Baddeley Keister, Fiber Artist Chapter 3: Principles of Two-Dimensional Design UNITY AND VARIETY Gestalt: Theory and Application Patterns and Grids Key Questions: Unity and Variety BALANCE Weight and Gravity Symmetrical Balance Radial Symmetry Asymmetrical Balance Expressive Uses of Balance Key Questions: Balance SCALE AND PROPORTION Key Questions: Scale and Proportion RHYTHM Key Questions: Rhythm EMPHASIS Emphasis by Isolation Emphasis by Placement Emphasis Through Contrast Key Questions: Emphasis Summary Key Terms Studio Projects Profile: Bob Dacey, Illustrator Chapter 4: Illusion of Space and Illusion of Motion CREATING THE ILLUSION OF SPACE Linear Perspective Other Ways to Create the Illusion of Space Using the Illusion of Space Key Questions: Illusion of Space Spatial Dynamics Key Questions: Spatial Dynamics THE ILLUSION OF MOTION The Kinesthetic Response The Decisive Moment Before and After Fragmentation Multiplication Key Questions: Illusion of Motion Summary Key Terms Studio Projects Profile: Ken Stout, Painter Part 2: Concepts and Critical Thinking Chapter 5: Problem Seeking and Problem Solving PROBLEM SEEKING The Design Process The Fine Art Process Sources of Ideas Characteristics of a Good Problem CONVERGENT AND DIVERGENT THINKING Using Convergent Thinking Using Divergent Thinking BRAINSTORMING Make a List Use a Thesaurus Explore Connections Keep a Journal Collaborative Creativity VISUAL RESEARCH Thumbnail Sketches Model Making AN OPEN MIND Summary Key Terms Studio Projects Profile: Adam Kallish, Designer/Consultant Chapter Six: Cultivating Creativity SEVEN CHARACTERISTICS OF CREATIVE THINKING Receptivity Curiosity Wide Range of Interests Attentiveness Connection Seeking Conviction Complexity GOAL SETTING A Goal-Setting Strategy Characteristics of Good Goals TIME MANAGEMENT Set the Stage Prioritize See the Big Picture Work Sequentially Use Parts to Create the Whole Make the Most of Class Time When in Doubt, Crank It Out Work Together VARIATIONS ON A THEME HABITS OF MIND AND WORK Habits of Mind Habits of Work Summary Studio Projects Profile: Suzanne Stryk, Painter Chapter 7: Developing Critical Thinking ESTABLISHING CRITERIA FORM, SUBJECT, CONTENT STOP, LOOK, LISTEN, LEARN TYPES OF CRITIQUES Description Cause and Effect Compare and Contrast Greatest Strength/Unrealized Potential DEVELOPING A LONG-TERM PROJECT Week One Assessment Week Two Assessment Developing a Self-Assignment Self-Assignment: Jason Chin TURN UP THE HEAT: PUSHING YOUR PROJECT’S POTENTIAL Basic Arithmetic Transformation Reorganization CONCEPTUAL VARIATIONS ACCEPTING RESPONSIBILITY Summary Key Terms Studio Projects Profile: Kendall Buster, Sculptor Chapter 8: Constructing Meaning BUILDING BRIDGES Shared Language Iconography Audience Immediacy Stereotypes Clichés Surprise Key Questions: Building Bridges PURPOSE AND INTENT CONTEXT CONNECTIONS AESTHETICS Definitions Postmodernism Visual Strategies DRAMA Summary Key Terms Studio Projects Profile: Roger Shimomura, Artist Part 3: Three-Dimensional Design Chapter 9: Elements of Three-Dimensional Design FORM Types of Form Form and Function Orthographic Projection Degrees of Dimensionality Environmental Works Key Questions: Form LINE Line Quality Actual Lines Implied Lines Line Networks Key Questions: Line PLANE Key Questions: Plane VOLUME AND MASS Volume Mass Key Questions: Volume and Mass SPACE Positive and Negative Space Compression and Expansion Activated Space Entering Space Key Questions: Space TEXTURE Degrees of Texture Characteristic and Contradictory Textures The Implications of Texture Key Questions: Texture LIGHT Value and Volume Striking a Surface Ambient and Direct Light Light as Sculpture Key Questions: Light COLOR Degrees of Harmony Contrast Color and Emotion Symbolic Color Key Questions: Color TIME Key Questions: Time Summary Key Terms Studio Projects Profile: Todd Slaughter, Sculptor Chapter 10: Principles of Three-Dimensional Design UNITY AND VARIETY Increasing Unity Combining Unifying Forces Increasing Variety Degrees of Unity Grid and Matrix Key Questions: Unity and Variety BALANCE Key Questions: Balance SCALE AND PROPORTION Scale Proportion Key Questions: Scale and Proportion EMPHASIS Emphasis by Isolation Emphasis Through Contrast Key Questions: Emphasis REPETITION AND RHYTHM Key Questions: Repetition and Rhythm Summary Key Terms Studio Projects Profile: Marilyn da Silva, Metalsmith Chapter 11: Materials and Methods CHOICE OF MATERIALS Increasing Material Strength Methods of Construction Key Questions: Choice of Materials CONNECTIONS AND TRANSITIONS Connections Transitions Key Questions: Connections and Transitions TRADITIONAL AND TRANSFORMATIVE MATERIALS Stone Clay Metals Wood Glass Fibers Plastics Ephemeral Materials Key Questions: Traditional and Transformative Materials STUDENT MATERIALS Boards Glues Tapes Key Questions: Student Materials MEANINGFUL MATERIALS Summary Key Terms Studio Projects Profile: David MacDonald, Ceramicist Chapter 12: Physical and Cerebral CONSTRUCTED THOUGHT From Life to Art Degrees of Representation Boundaries Bases and Places Key Questions: Constructed Thought PHYSICAL FORCES Weight and Gravity Compression and Expansion Tension and Torsion Presence and Absence Process and Product Key Questions: Physical Forces CONTEMPORARY QUESTIONS, CONTEMPORARY ANSWERS Building on Tradition Reinventing Sculpture Contemporary Directions Ideas in Physical Form Key Questions: Contemporary Questions, Contemporary Answers Summary Key Terms Studio Projects Profile: Samuel Yates, Artist Part 4: Time Design Chapter 13: Aspects and Elements of Time BUILDING BLOCKS Relationships Transitions Key Questions: Building Blocks DURATION Key Questions: Duration TEMPO Key Questions: Tempo INTENSITY Key Questions: Intensity SCOPE Key Questions: Scope SETTING Physical and Temporal Location Props and Costume Setting and Actor Key Questions: Setting and Actor Sound: The Hidden Dimension Key Questions: Setting CHRONOLOGY Key Questions: Chronology SCHINDLER’S LIST: CONTENT AND COMPOSITION Summary Key Terms Studio Projects Profile: Sharon Greytak, Filmmaker Chapter 14: Narrative and Nonnarrative STORYTELLING Working with Multiple Images Multiple-Image Structures From Scene to Screenplay Key Questions: Storytelling BOUNDARIES Conceptual Boundaries Developing a Story Emotional Boundaries Style Key Questions: Boundaries CAUSALITY Key Questions: Causality CHARACTER-DRIVEN NARRATIVE The Opening Sequence Conflict The Closing Sequence Key Questions: Character-Driven Narrative NARRATIVE COMPRESSION Key Questions: Narrative Compression NONNARRATIVE Key Questions: Nonnarrative Summary Key Terms Studio Projects Profile: Michael Remson, Librettist and Composer Chapter 15: Interdisciplinary Arts EXPLORING THE VISUAL BOOK Selecting a Text Writing a Text Text and Type Style Word and Image Relationships Advantages of Visual Books Key Questions: The Visual Book INSTALLATION ART Uses of Space and Time The Importance of Context Advantages of Installation Art Key Questions: Installations PERFORMANCE ART Historical Background Characteristics of Performance Art Key Questions: Performance Art ADVANTAGES OF INTERDISCIPLINARY ART Summary Key Terms Studio Projects Profile: Nancy Callahan, Artist, and Diane Gallo, Writer BIBLIOGRAPHY NOTES GLOSSARY CREDITS INDEX

Author comments

Author, artist, and educator Mary Stewart is the Foundations Program Director for the Art Department at Florida State University and co-founder of Integrative Teaching Thinktank, a national organization devoted to strengthening college-level teaching. She regularly gives workshops and lectures on creativity, curriculum design, visual communication, leadership and visual narrative. Her artwork has been shown in over eighty exhibitions nationally and internationally, and she has received two Pennsylvania Council on the Arts grants for choreography. She received the FATE (Foundations in Art: Theory and Education) Master Educator award and the National Council of Arts Administrators Award of Distinction in 2009.

Copyright 2014 McGraw-Hill Global Education Holdings, LLC


Before you can enjoy free downloads from McGraw-Hill Professional, we ask that you please provide your email address and country.

Yes, I want to receive other special offer.