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Designs Ink Publishing
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Articles by
Chris A. Paschke, CPF GCF CMG
"The Design
Process: Intensity"
June 1994
Art is concerned with creation of a work that will
arouse an aesthetic response. What we
perceive with the eyes in paint, sculpture, drawing, prints, photos...indeed
framing, may result in our feeling of delight, admiration, shock, rapture,
intrigue or disinterest.
Webster's dictionary defines intensity as "the
relationship of one part or detail in a picture to another with respect to
lightness and darkness". It is the
`visual energy of emotion' evoking viewer reaction, mood, depth and
involvement. Therefore in framing,
intensity often relates to strong creative applications and design
statements. Glass etching, deep bevel
wrapping, stacked mouldings, perhaps nearly any framing presentation somewhat
out of the ordinary...might all be samples of intensity at work.
Intensity and value are rather esoteric terms most often
equated with the discussion of color, yet this is really only limited
accuracy. When relating to the more
complete meaning of "intensity" we must also note additional terms
such as tone, brightness and shade, all far beyond the simple realm of color.
Intensity and
Light
Intensity is measured by
the "quality" of light or the specific brightness or dullness
of an image. The value of an
image is measured by the "quantity" of light that it reflects, hence
its apparent lightness or darkness often related to as highlights and
shadows. A shadow is a dark area
created on a surface when another form is placed so as to prevent light from
falling on it. Adversely, a highlight
is an area or shape which receives the greatest amount of light. So, value and intensity are partnered as the
more dramatic of the elements. They are
the ones that seem to set the stage for visual impact and are frequently used
to evoke feelings.
Highlighted values are pleasant, shadowed lower values
are more dramatic, and extreme contrasts are often quite visually
stimulating. The somewhat aggressive
combinations of miters used in the assembly of the featured mirror frame in the
photo, clearly illustrate extreme value contrasts both by the frame shape
itself and the mirror it houses (photo
1). Use of extremes in intensity not
only attract attention but may be exciting, powerful and strong. As a mirror,
this sample only uses intensity as a design element, but making as strong a
statement as it does would have likely overpowered most other artwork.
photo 1
This detail of the side moulding from
a large mirror exemplifies the drama of intensity.
Highlights, shadows, reflections are
all perfect examples of use of this element.
Impact of other
Elements
All design elements must exhibit some form of contrast
in order to be visible, a viewer's attention may be grasped by extremely high or
low image values, but contrasts or visual surprises are much more interesting
and eye-catching. Value, when translated
into line may be as simple as a single ruling pen line or as animated as
a decorative Brian Wolf carving. A
merger or cluster of v-grooved lines or fillet lined cutouts may produce shapes. The multiple layers of the matboard feature a
quiet use of intensity, subtle highlights, shadows and added depth (photo 2).
photo 2
The fillet-lined shapes created to
showcase the stamp are a quiet example of intensity.
The multiple layering creates
highlights and shadows associated with the element in framing.
This Arquati show piece illustrates
shape, line, color, texture and intensity.
Though value is relative and is affected by all other
elements, it is most often linked with color. The existence of color is entirely dependent
on the presence of value. For example,
yellow is lighter than violet, but it may be modified to be nearly equal in
"visual impact". Weaknesses in
designs utilizing color value are easily identified by examining black &
white photos of the completed project to reveal a lack of contrast.
Expressive Uses
Light and shadow exist in Nature as a by-product of
strictly physical laws. The
artist/designer must adjust them in order to create an interesting visual
language. The result becomes a stressing
of the decorative effects (during framing) ignoring conventional light sources
and/or neglecting the representation of light altogether until it naturally
occurs within the frame.
By mounting a doily onto a centrally floated piece of
glass, the shadows cast by both the spaced mats and the doily exemplify these
decorative effects (photo 3). The resulting effects of light (highlights
and shadows) must be taken into consideration based upon their contribution to
the total visual framing presentation.
Light is most often what will establish intensity/value as a valid
design element in any given framing project.
photo 3
This is an excellent example of value
and intensity through highlight and shadow
using spacers and floated glass.
This detail image from Circle Master
Company features design elements of
line, color, texture, shape and intensity.
Intensity as
Depth
One of the easiest ways to establish a dramatic
interaction between highlight and shadow is to use spacers or deep bevel
designing. The very placement of an item
within a deep box setting creates the use of intensity regardless of the mood
it establishes. The soft fabric mat and
fillet combination used in the object box by Larson-Juhl for the antique
necklace incorporates the elements of line, texture, color and intensity. Notice the natural shadows created by the
deep mat covered sides of the box and the odd shapes of the necklace itself (photo 4).
photo 4
The antique necklace is framed in a
deep shadowbox using colored and textured
suede mat, backing and sides with an accent
fillet.
Notice the natural shadows along the
left and right cast from the top mat to
the bottom and surrounding the art.
Another varied style of deep bevel designing utilizes
the intensity of shadow and value contrasts to highlight the natural deckle of
a heavy paper casting (photo 5). Shadows play from beneath the art creating a
value difference accenting the visual impact.
The painted 4ply bevel top mat and dry-pigment tinted,
wrinkle/wrapped, deep bevel liner also utilizes line, texture, color and
intensity as showcased above...but in two extremely different
presentations.
photo 5
This 5-layer deep wrinkle wrapped
foamboard mat is another example of intensity.
The sampler shows the layers and creation that is used in the booth at
Seal Products.
photo 5A
The elements of line, color, texture,
and intensity (depth) are shown.
Identifying
Intensity
Remember, the series of five basic steps in the design
process are definition, creativity, analysis, production, and
clarification. Once the item has been
labeled "fine art" or "decorative art" during the definition
stage, only then can the creativity stage be activated. The purpose of framing fine art is to
preserve, enhance and protect the art, while framing decorative art allows for greater
carte blanche. If a truly creative approach has been chosen, and intensity
becomes an element, the procedures must be approved during analysis to insure
proper handling. (photo 6)
photo 6
Another Arquati booth sample features texture,
shape, intensity and rhythm.
Although shape is an integral part of
photos 1 and 6 they are very different in impact.
Creative framers will most often identify intensity as a
somewhat organic participant in framing or pictorial organization. Often it will be an element that is not
considered as a notable or countable one until the clarification stage at the
completion of the entire design, almost an afterthought. As an element, intensity will not leap to
mind as texture or color do, but it greatly affects the overall dramatics
within a 2-dimensional or 3-dimensional presentation.
A good designer uses his/her elements instinctively as
the tools they were meant to be.
Intensity is a multi-purpose tool utilizing light, shadow, contrast and
depth to help establish an overall mood and produce a spatial unity. The success of a framing design will largely
be based upon the effectiveness in which the designer has made intensity and
value serve these functions.
See you next month with "Part Seven: Space".
END
Copyright © 1994 Chris A Paschke, CPF GCF
For more articles on mounting basics look under the
mounting section in Articles by Subject.
Additional information on all types of mounting and
creative applications in:
The Mounting and Laminating Handbook, Second Edition,
2002,
The Mounting And Laminating
Handbook, Third Edition, 2008,
Creative Mounting, Wrapping and
Laminating, 1999.
Chris Paschke, CPF GCF
Designs Ink
Tehachapi, CA
93561
P 661-821-2188
chris@designsinkart.com
http://www.designsinkart.com/library.htm