Masterwork Analysis
Fan the Flames By Shepard Fairey in 2019
Fan the Flames by Shepard Fairey demonstrates the use of continuous lines That are then separated by parallel lines of different colors. A question comes to mind if Faiery decided to intentionally include parallel tangents in his design. An example can be seen by looking at the blue oval outlines that blend into the shading of the woman depicted in the front. Maybe, however, the fact that parallel lines are not objects but shading does not fall into the category of tangents. There appears to be a use of multiple focal points that draw the eye to sections of the design. The separation of these elements resembles the nature of a grid concept but uses the placement of a collage. Collages best resemble the design theory of overlap while Fairey makes great use of this design principle by also including tactile textures for his background.
Illustrated Analysis
General Grant National Park Poster By Doug Leen and Brian Maebius, 2009.
The General Grant Park Poster represents a negative shape by outlining the trees of the forest in the background. The poster takes this concept a step further by subtly changing the color of the silhouettes to lighter shades of blue the further the trees get from the foreground. Lines play a big role in this poster as they cut straight through the poster overlapping different shades of light and shadow. The rays of light also intersect with the vertical lines of the trees. By offsetting the orange typeface over the darkened foreground that combines with the background of the trees the information stands apart from the scenery. The poster also gives a detailed sense of depth by including the bright red car, overshadowed by the foreboding trees behind it.
Illustrated Analysis
Portrait of Madame Matisse (aka The Green Line) By Henri Matisse, 1905
Matisse’s Portrait of Madame Matisse is a wonderful example of how to arrange elements within a portrait to make the best out of design principles like Notan which balances between the light and dark colors. The clear reflection seen from the warm colors on the left and cold on the right shows an understanding of space and asymmetrical balance. At first, when observing the painting I assumed the artist was not considering the light source from the model or reference’s perspective but when looking at the orange side of the painting there is a cast of orange reflected on the skin of Madame Matisse. There are hard-defining lines that separate portions of the portrait as identified by the painting’s moniker “The Green Line”. Hidden behind the organic shape of the hair is a separation of color almost down the center continuing the line from the bridge of the nose. The intersecting line comes from the left side of the portrait where another color shift of warm colors continues the trend of asymmetrical balance.
Illustrated Analysis
The Oath of the Horatii By Jacques-Louis David in 1784
The Oath of the Horatii is a masterful painting that dives deep into the design theory of Hierarchy, the rule of thirds, spatial awareness and so much more. The use of Notan balances the lights and shadows to give a sense of depth to the painting. This action opens the space of the foreground while closing the viewer’s clarity of what lies behind the stone columns. The figures depicted in this painting take wide stances, giving them all a similar shape that can be identified as repetition. There is also a sense of sub-dominance in the aspect that the man in the center acts as the opposition to the three men in front of him. At the same time, the woman holding the children may also act as a subdominant design choice for the women who sit in front of her. There is a clear position of movement throughout the entire painting as the soldiers all position themselves forward to retrieve their weapons from the man leaning away from them. The shadows all face the right direction indicating a clear location of the light source.
Illustrated Analysis
