TAKORADI POLYTECHNIC
SCHOOL OF APPLIED ARTS
DEPARTMENT OF GRAPHICS
PROJECT TOPIC: REINFORCING BASIC DESIGN
FOR SCHOOL OF APPLIED ARTS
EKOW SAM
07070295
DECLARATION
I hereby declared that this submission is my own work towards the Higher National Diploma in
Commercial Art Graphic option and that, to the best of my knowledge it contains no material
previously published by another person nor material which has been accepted by another
tertiary institute, except where due acknowledgement had been made in the text.
Candidate
Ekow Sam
…………………………………………
………………………………………
Signature
Date
Certified by
Ebenezer Enninful
…………………………………………
(Supervisor)
……………………………………..
Signature
Date
Certified by
Dr. Samuel Adentwi Bentum
(Head of Department)
………………………………..........
Signature
i
……………………………………….
Date
ACKNOWLEDGEMENT
First and foremost, I thank God almighty for guiding me through this piece of research work. My
gratitude also goes to Mr. and Mrs. Llamie of cocoa processing company.
My deepest and sincerest gratitude also goes to Mr. and Mrs. Samuel Mensah for their parental
support. I also express my heart felt appreciation to Divine Gyamfi, Emmanuel Bonso, Mrs
Emelia and Beatrice Quainoo, Nana Akomea Sintim Missah, Mawuse Ntiriwaah, for their
financial support.
My deepest gratitude goes to Hope Attakpah, Benjamin Gozo, Warman Mantey, Eric Asomani,
for their encouragement and concern they showed to me.
I also wish to express deepest appreciation to Mr. Ebenezer Enninful, my supervisor for his
constructive, considerate and insightful criticism.
May, 2010.
ii
ABSTRACT
Researcher’s Name
Ekow Sam
Qualification
Higher National Diploma (HND) in
Commercial Art (Graphics)
Title
Re-inforcing basic design for the school of
Applied Arts
Supervisor
Mr. Ebenezer Enninful
Basic design has been the secret of the success of many artifacts and artworks across the world.
Basic design in totality cannot be overlooked in the designing and production of Art products.
Many designers have failed to realize success not because their Art work are not that beautiful
but because they do not use the elements and principle of design effectively in their works
making the works incomplete.
This is to say that most art enthusiast and art lovers will not purchase an art piece not because
of its aesthetic quality alone but its completeness as well.
It is time our Art institutions realize that, the optimum level of Art cannot be achieved by
neglecting how best they can tailor basic design in Art works in terms of art. However the only
vehicle that can trigger their optimum peak in Basic design.
iii
Table of Contents
Title
Page
Declaration ………………………………………………………………………………………………………
i
Acknowledgement …………………………………………………………………………………………….
Ii
Abstract …………………………………………………………………………………………………………….
iii
Table of Contents ……………………………………………………………………………………………….
iv
CHAPTER ONE: INTRODUCTION
1.0 Background of the study ……………………………………………………………………………..
1
1.1 Statement of the problem ………………………………………………………………………….
2
1.2 Objectives of the study …………………………………………………………………………………
3
1.3 Abbreviations used …………………………………………………………………………………….
3
1.4 Limitation …………………………………………………………………………………………………..
3
1.5 Delimitation ……………………………………………………………………………………………....
3-4
1.6 Importance of the study …………………………………………………………………………….
4
1.7 Definition of terms……………………………………………………………………………………..
4
1.8 Facilities available ………………………………………………………………………………………
4
iv
CHAPTER TWO: REVIEW OF RELATED LITERATURE
2.0 Historical perspective of the study ……………………………………………………………..
5-6
2.1 What is basic design …………………………………………………………………………………….
6-7
2.2 Elements of design ………………………………………………………………………………………..
7
2.2.1 Dot/point …………………………………………………………………………………………….
8
2.2.2 Line …………………………………………………………………………………………………….
8
2.2.3 Types of lines ………………………………………………………………………………………
8
2.2.4 Uses of lines ……………………………………………………………………………………..
8-9
2.2.5 The relationship of some lines to emotional responses …………………..
9-10
2.2.6 Texture …………………………………………………………………………………………….
10
Types of textures …………………………………………………………………………………
10
2.2.8 Perceiving texture through the senses ……………………………………………….
10
2.3 Colour …………………………………………………………………………………………………….
10
2.3.1 Some uses of colours ………………………………………………………………………
10
2.3.2 Primary colours ………………………………………………………………………………..
11
2.3.3 Secondary colours ………………………………………………………………………….
11
v
2.3.4 Tertiary colours ………………………………………………………………………………
12
2.3.5 Some colour terminologies ………………………………………………………………
12-13
2.3.6 Some colours and their symbolism …………………………………………………
14
2.4. Shape ………………………………………………………………………………………………
14
2.4.1 Types of shapes ……………………………………………………………………………..
14
2.4.2 Rectilinear/curvilinear ……………………………………………………………………
15
2.4.3 Geometric/organic ………………………………………………………………………..
15
2.4.4 Relationship of some shapes to emotional responses …………….
15
2.5 Space ………………………………………………………………………………………………….
15
2.6 Principles of design ………………………………………………………………………………
16
2.6.1 Contrast ……………………………………………………………………………………………
16
2.6.2 Harmony …………………………………………………………………………………………..
16
2.6.3 Unity …………………………………………………………………………………………………
16
2.6.4 Rhythm………………………………………………………………………………………………
16
2.6.5 Repetition …………………………………………………………………………………………
16
2.6.6 Movement ………………………………………………………………………………………..
16
2.6.7 Balance ……………………………………………………………………………………………
16
vi
2.6.8 Proportion ……………………………………………………………………………………
16
CHAPTER THREE: METHODOLOGY
3.0 Research methodology ……………………………………………………………………
18
3.1 Population of the study ………………………………………………………………….
18
3.2 Sampling …………………………………………………………………………………………
18-19
3.3 Sampling size ………………………………………………………………………………….
19
3.4 Data collection ……………………………………………………………………………….
19-20
3.4.1 Questionnaire ………………………………………………………………………………
20
3.4.2 Interviews conducted ………………………………………………………………….
20
3.4.3 Observation …………………………………………………………………………………
20
CHAPTER FOUR: DATA ANALYSIS/DISCUSSION OF FINDINGS
4.0 Background of respondents ………………………………………………………………
21
4.1 The number of people who responded to the questionnaire and interview …..21
4.2 Analysis and interpretation of data ……………………………………………………..
22
4.2.1 Gender: Department of painting ……………………………………………………...
22
4.2.2 Gender: Department of ceramics ……………………………………………………
23
vii
4.2.3 Gender: Department of fashion ……………………………………………………..
23
4.2.4 Gender: Department of textiles ……………………………………………………….
24
4.2.5 Gender: Department of Sculpture ……………………………………………………
24
4.2.6 Gender: Department of graphics …………………………………………………….
25
4.2.7 Age groups ……………………………………………………………………………………..
25
4.3 Can the subject help produce a good and complete art work? …………
26-27
4.4 To what extent does the subject prepares students for the job market and makes them
good criticizers or appreciators of art work? ……………………………………………..
27-28
4.5 Does the study of the subject help students to understand and know why they
need it?............................................................................................................ 28-29
4.6 Findings ……………………………………………………………………………………………
29-30
CHAPTER FIVE: SUMMARY, CONCLUSION AND RECOMMENDATION
5.0 Summary ……………………………………………………………………………………
31
5.1 Conclusion ………………………………………………………………………………..
31
5.2 Recommendation …………………………………………………………………….
32
Reference …………………………………………………………………………………….
33
Bibliography ………………………………………………………………………………..
34
viii
Appendix ……………………………………………………………………………………..
ix
35- 38
CHAPTER ONE
INTRODUCTION
1.0 BACKGROUND OF THE STUDY
Basic design refers to the basic and fundamental elements and principles that make a design
complete. It is a subject that basically deals with elements and principles such as lines, dots,
shape, form, variety, repetition, texture, balance and others.
It contributes immensely to the skeletal structure of a piece of art work as well as giving it
solidity and form. As its name implies, it is the bases that a potter, a sculptor, a fashion
designer, a painter, a textile designer, and the graphic designer will compulsorily need in the
execution of his work.
These elements and principles that constitute the subject is inevitable as long as the work of art
or design is to be produced. Many artists and designers find most of their works incomplete and
looks at it as if there is something amiss; this is because they lack knowledge about the insight
of the elements and the principles of design and how to employ it appropriately.
Basic design is a vital subject that is studied in all the tertiary institutions that runs the art
programme.
Basic design started to be taught in the Takoradi Polytechnic as a subject in 1992 when the
school was given the accreditation to operate Higher National Diploma (HND). The subject
prepares and builds students of the Applied Arts towards the bases in designing and the various
art related courses as a whole.
1
1.1 STATEMENT OF THE PROBLEM
Re-inforcement of basic design has become necessary. This is on the fact that, although this
subject is taught in the institution, it does not reflect effectively in the works and designs of the
students and also most students cannot confidently answer questions on the subject.
Many people graduates from universities and polytechnics as professional designers. They go
into the job market and they cannot perform as expected. Apart from not being too familiar
with machines used in the industries , those who can also lack the right approach to combine
the elements and principles of design to produce a good art work, be it a poster, a painted
work, or a good layout for a press work.
The problem of indecision and frustration is high because most graduate artists cannot prove
themselves in the job market and in most fortunate instances they need to be trained before
they are employed.
The school of Applied Arts of the Takoradi Polytechnic occasionally celebrates its week, where
works of students are exhibited or show cased. But most works do not meet the standard vis-avis works found in Art institutions abroad.
Considering the above, there is the need for the re-inforcement of basic design not only in the
Takoradi Polytechnic but in all the art related tertiary institution in the country.
2
1.2 OBJECTIVES OF THE STUDY

For students to be able to produce a good and a complete work.

To prepare students, make them competent for the job market and position them in
such a way that they will be able to criticize and appreciate effectively the work of Art.

For students to understand and know the need for the study of the subject.
1.3 ABBREVIATIONS USED
Etc.
-
Etcetera
Eg.
-
Example
I.e.
-
That is
B.C.
-
Before Christ
1.4 LIMITATIONS
Although the project has successfully been made. The following factors explain some
obstacles encountered. The highest quality print, which the student expected was not
achieve since the normal inkjet printer does not work to that extent.
However, this can only be achieve by only employing press work, which involves a lot of
cost, in other words financial constraint.
It was also difficult relying for the support of some lecturers of different institutions due
to their schedules.At a time transportation became a core problem for the researcher.
3
1.5 DELIMITATION
Basic design contributes enormously to Art works and design in the world of Art today
and helps differentiate a good work from the bad one. The researcher found it
necessary and relevant to work on this long essay to help solve the poor execution of art
works and designs in the institution.
It was the wish of the researcher to have delved into much research for the project but
hooked to a drawback because of the time frame.
1.6 IMPORTANCE OF THE STUDY
Basic design and has been of great relevance as far as School of Applied Art is concerned.
People who benefit from this importance are;

Lecturers and Instructors.

Students from the various Art department such as;
Textile
Graphics
Ceramics
Painting
Fashion
Sculpture

Students from JHS and second circles institution.
4
1.7 DEFINITION OF TERMS
Applied Arts: Is the application of design and aesthetics to objects of function and everyday
use.
Basic : The bases, Fundamentals, or starting point which something can develop.
Basic Design: The Fundamentals or bases for an art process to be guided by planning,
arrangement to produce a purposeful result incorporating the elements and principles of
design as key factors.
Balance: It is equilibrium among interacting or opposing forces in a visual combination.
Contrast: It is the degree of difference between compositional part; or something noticeable
different from something else.
Colour: Is the character of a surface created by the response of vision to the wave length
reflected from the object.
Dot: Is a mark made by a tip of a tool.
Design: It is the organization, arrangement or composition of a work of art or a plan within a
work of art.
Elements of design: are the building blocks from which the two or three dimensional designs
are made.
Harmony: It is a pleasing or soothing relationship among colours, shapes, or other design
element.
Line: Is defined as a point in motion, a series of adjacent points, a connection between points.
Movement: Is the act of changing position or place away from something that exist or an
indication for the eye to travel through visual path on a picture, design or drawing picture.
5
Proportion: It is a comparative relationship between the parts to a whole or the relation of one
thing to another in quantity, size, number, position, space and shape.
Principles of design: describes the general ways in which artist arrange the parts of their
composition in a work of art or design.
Rhythm: Is the repetition of multiple parts in a composition to create a pattern, positive and
negative or other contrasting force.
Repetition: Is the use of same visual elements or visual effects a number of times in the same
composition.
Space: Is an open area with no boundary at least in one direction or the interval between preexisting point.
Shape: Is an area or plane with distinguishable boundaries or an enclosed area or an area
defined by a contour, colour, value, or a texture with a surrounding area.
Texture: Is the surface feel of an object or character of a surface.
Unity: It is the oneness, or wholeness, in a design that occurs when all parts work together to
create a cohesive whole.
1.8 FACILITIES AVAILABLE
The following libraries; Takoradi polytechnic library, University of education library and Tema
Community Centre library were visited to elicite data for the project.
6
CHAPTER TWO
REVIEW OF RELATED LITERATURE
2.0 HISTORICAL PERSPECTIVE OF THE STUDY
It all started about 3000 B.C when the early men have no option than to do all that they can to
survive in their immediate and challenging environment. They depended on food, cloth and
shelter as basic needs. They pluck wild fruits and nuts and fed on them.
More so, hunting as a casual activity of the crude man; they killed their targeted prey with the
help of the locally manufactured weapons such as bows, clubs, spears all made of either wood,
stone or bone. But before the actual hunt, they have the belief that there is a strange
relationship between living things and their image; as a result, they drew, painted and made
designs on walls of caves, rough surfaces of rocks where they lived with the help of chewed
sticks of trees, earth colours mixed with animal fat. They did their designs on walls by creating
markings of lines, dots, texture, space and shapes after which paint is applied.
In the design, they pears the creatures with arrows and other weapons with the belief to make
them defendless and harmless.
After a successful hunt, they consume the meat as food, clothed themselves with the textured
skin and furs of the animals and made tents also with it. They ignore the already used works
and attempt a new one to ensure variety. For shelter, they reside in natural caves; where there
were no caves they use a laborious means to arrange gigantic rocks and stones in a balance
manner for refuge.
Although the early men produce paintings and designs for magical and survival purposes, they
employed the elements and principles of design unconsciously.
7
During the 5th Century B.C, the Ancient Greeks used textured clay in their ceramic works. The
works were completely covered with networks of fine patterns.
In 300 B.C, the Indians built temples for their gods, these temples were resting on circular
terraces with small stairs surrounding the dome.
In a nut shell, basic design has gradually eroded tremendously from the days of old to the
present time where it has been given recognition and taught in almost all tertiary institution
that offers art.
2.1 WHAT IS BASIC DESIGN?
First of all there is no adopted or standard definition for the term "basic design" as compared to
other subject like photography, painting and others. Its is made up of two words, "basic" and
"design".
"Basic" according to Cambridge International Dictionary which means the bases, fundamentals,
or starting point which something can develop. "Design" according to different authors:

Mariam L. Davis (1980) define "design" as the process and product, as process it is
planning, organizing to meet a goal, carrying out according to a particular purpose
creating. As product it is the end result. She continued to say that it is intentionally
created for a purpose.

Wucius Wong (1972): describes "design" as a process of purposeful visual creation. He
further said, it is a visual expression of the essence of something. Its creation should not
only be aesthetic but also function while reflecting or guiding the taste of the time.

Mary Stewart (2002): defines "design" as to plan, delineate or define as in designing a
building. She said again that "design" is to create a deliberate sequence of images or
8
even as in developing a film story board. Better still it is to create a function of object,
as in product design.

Encyclopedia (1994) states that a "design" is the intended arrangement of materials to
produce a certain result for effect. The article discusses the basic principles which are
used in the visual art.
Deducing from the above information the term "basic design" simply means the fundamental
or bases for a process to be guided by planning, arranging, to produce a purposeful results
incorporating elements and principles of design as key factors.
2.2 ELEMENTS OF DESIGN
Elements of design are the building blocks from which the two or three dimensional designs are
made. It is also considered as the components or parts that can be isolated and defined in any
visual design or work of Art; they are the structure of the work and carry a wide variety of
messages.
These elements are; dot, line, texture, colour, shape, space.
2.2.1 DOT/POINT
It can be said to be a mark made by a tip of a tool. The choice of tool may depend on the
designer or Artist. The tool can be a pencil, pastel, crayon, chalk, tailors chalk, pen, felt pens,
pencil colours, markers and some in cases knife and others provided it can create the effect.
It may appear in nature as sand, sugar, salt etc. Dots can be arranged to outline a form and to
create texture in a design as well.
9
2.2.2 LINE
Line is defined as a point in motion, a series of adjacent points, a connection between points,
an implied connection between points. Line is substantially longer than its width.
It does not mean lines are created artificial only. It also exist in nature as structural feature;
such as branches of trees, root of trees, lines on tree barks, stipple on a tiger or seashell etc.
2.2.3 TYPES OF LINES
Fast and slow are the classifications of lines. Fast lines makes the eye move swiftly because
they are straight or slightly curved. Example is the white painted straight lines on roads. Slow
lines in contrast interrupts the eye movement by twist or by jumps in its continuity. In a broken
line the eyes travel by loops from object to object and for this reason it is said to be slow.
Other example of lines are vertical, broken, light, diverging, spiral, dotted, diagonal, undulating,
long, zig-zag, narrow, wide and short etc.
2.2.4 USES OF LINES

It is used in designing to give markings and form.

It can be used to imply movement since everything goes somewhere, the viewers eyes
naturally follows it.

It creates emphasis in a work of art.

It is used in drawing as hatching and cross hatching.

It has the ability to convey all sorts of mode and feeling depending on the type of line
used and its interpretation.

It gives direction.
10
2.2.5 THE RELATIONSHIP OF SOME LINES TO EMOTIONAL RESPONSES
Any line that is put on papers has a meaning and conveys information. Line can be used to
express weakness or strength.
Below are some lines and their emotional responses;
Straight lines: It suggests strength and hardness.
Spiral lines: This stands for motion, power and excitement.
Rhythmic or undulating lines: Stands for grace, charm, and movement.
Bending lines: Stands for sorrow, depression or negation.
Heavy, curved twisting lines: They suggest pumps, luxury and elegance.
Diagonal lines: Its suggest instability and distortion, it suggest unleased tension.
Horizontal lines: This suggests stability and serenity.
Vertical lines: It suggests inspiration, reverence, majesty, exalted emotions. It also depicts
stability, it emphasize on height. They also stand for strength and performance.
Heavy lines: They suggest energy, anger, excitement and enduring strength.
2.2.6 TEXTURE
Texture is the surface feel of an object or character of a surface. It describes how any material
feels to touch. Texture can be smooth or rough, natural or man made.
11
2.2.7 TYPES OF TEXTURES
Tactile or Actual texture: It is the type of texture which when touch stimulate sensory
responses e.g. sand, sand paper, seed, collages, impasto techniques and others.
Visual or Stimulated Texture: It is the texture that appears to be rough, smooth or hard but
cannot be felt. Example is a polished terrazzo.
2.2.8 PERCIEVING TEXTURE THROUGH THE SENSES
Sight: This perceives the texture surface of an object.
Taste: The tongue perceives texture during drinking of soup as well as eating and swallowing of
food.
Hearing: Rubbing two surfaces produces noise or sound and this determines the smoothness
and roughness of a surface.
Kinetic: Muscles gives us information about the movement of objects and weight.
Touch: We use the skin to feel the surface character of an object.
2.3 COLOUR
Colour is the character of a surface created by the response of vision to the wave length
reflected from the object. It is an impression made when light strikes the object. Colour can be
in a form of pigment or light.
The primary pigment colours are: red, yellow, blue, whiles red, blue and green are light or
photo colours. Pigments colours can be in a liquid, powdered or solid state. Eg,crayons, colour
pencil, felt pens, poster colours and many others.
12
The light (photo) colours are source from the sunlight and artificial lightening. Light colours are
employed in cinematography and photography.
2.3.1 SOME USES OF COLOURS

For identification

To symbolize ideas

To create beauty

To attract and direct attention

To create mood
2.3.2 PRIMARY COLOURS
They are colours that cannot be made by mixing other colours. These colours are red, yellow,
and blue.
2.3.3 SECONDARY COLOURS
Secondary colours can be obtained by mixing two primary colours together, for example
orange, green and violet.
2.3.4 TERTIARY COLOURS
Tertiary colours can be achieved by mixing two secondary colours. They are; russet, citron,
olive and others.
13
2.3.5 SOME COLOUR TERMINOLOGIES
Analogous colours: Colours which contain one common colour; for example blue is contained
in violet, so blue and blue violet are termed as analogous.
Chroma: Concentration of colour in a given area.
Cold Colour: They are colours that do not disturb the eye when viewed. They are blue, green,
violet etc.
Colour intensity: It is another word for chroma. It denotes the quality of brightness or dullness
of a colour.
Complementary colours: Colours which are directly opposite on the colour wheel, eg red and
green.
Cool colour: Colour which has blue or green in it.
Colour perspective: Using of colours to suggest distance in a picture or drawing, colours nearer
the viewer are intense whiles those in a distance are pale.
Colour harmony: It is the pleasing combination of colour.
Colour triad: These are groups of three colours equally spaced on the colour wheel: They are
also described as colours that are equidistant on the colour wheel. There is the primary triad
which is formed by red, yellow and blue. The secondary triad includes, green, orange and
violet. The third type of triad is formed by two intermediate colours; they are blue green and
yellow, blue violet and red violet, yellow orange and red orange.
Grey: Mixture of black and white.
Hot colour: They are colours that disturbs the eye when viewed. Example red, yellow, pink etc.
14
Hue: It is the basic identity of a particular colour. It is the quality that identifies a colour as it is.
For example red seen as red, blue seen as blue etc.
Split complementary: A complementary colour plus the two colours on either sides of its
complementary on the colour wheel.
Shade: A colour mixed with black. For example dipping of black in yellow.
Tint: It is the mixture of any colour with white. For example the dipping of white into red.
Tone: It is the shade of colour. For example shaded red.
Value: It is the relatively lightness or darkness of a colour.
Warm colour: They are colours that has yellow or red in it.
Monochrome: When a picture is painted using one colour with white or black. For example
tinting and shading of blue.
Dichrome: When a picture is painted in two colours. For example painting using red and yellow
only.
Trichrome: When a picture is painted using three colours. For example painting a work of art
using red, yellow and blue only.
2.3.6 SOME COLOURS AND THEIR SYMBOLISM
Red: represents aggression, war, anger, violence, calamity, death, riot, force, danger, blood.
Yellow: signifies royalty, prominence, rulership.
Blue: expresses love, height.
Green: represents; newness, fertility, growth, vitality.
Silver: signifies second in position, royalty.
Gold: signifies royalty, prominence, status, rulership.
15
White: represents, joy, victory, happiness, purity, virginity.
Black: represents sadness, death, cruelty.
Brown: represents; decay and rottenness, soil.
Grey: expresses; pity, shame, blame, degradation.
2.4 SHAPE
A shape is an area or a plane with distinguishable boundaries or an enclosed area or an area
defined by a contour, colour, value, or a texture with a surrounding area. It can be regular or
irregular, natural or artificial.
2.4.1 TYPES OF SHAPES
Rectilinear and Curvilinear.
2.4.2 RECTILINEAR/CURVILINEAR
Rectilinear shapes are dominated by straight lines, and angular corners, curves and flowing
lines. Examples are; squares rectangles, triangles, sphere and circles.
2.4.3 GEOMETRIC/ORGANIC
This type of shape is derived from precised and mathematically consistent curves. It relies on
mechanical means of construction. Organic shapes are found in the natural world of plant and
animals, sea and sky.
16
2.4.4 THE RELATIONSHIP OF SOME SHAPES TO EMOTIONAL RESPONSE
Rectangular: They stand for stability, strength and unity.
Circles: Suggest vastness, eternity, equality, perfection and motion.
Triangles: It stands for permanence, security and perfection.
2.5 SPACE
Space is an open area with no boundary at least in one direction or the interval between preexisting point. Space can be positive or negative. It is express or seen positive as shapes or
objects in a picture, design or drawing. On the other hand the negative spaces are the boarders
and areas outside the object or shape in a picture. Alternatively the background when
emphasized is regarded as positive space can be used in a design to suggest distance; for
instance the placement of one thing or object in front of another to create the illusion of space.
2.6 PRINCIPLES OF DESIGN
Principles of design: describes the general ways in which artist arrange the parts of their
composition in a work of art or design. It is described as the rules that guides the artist to
execute a work of art or design. This principles of design includes contrast, harmony, unity,
rhythm, repetition, movement, balance, proportion.
However the principles of design deals with the rules that the artist or designer employs in a
piece of work to make proper use of the element of design.
2.6.1 CONTRAST
It is the degree of difference between compositional part; or something noticeably different
from some thing else. Example placing a large shape or object next to a small object, bright
colour next to a dull colour.
17
2.6.2 HARMONY
It is a pleasing or soothing relationship among colours, shapes, or other design elements. It is a
combination or adaptation of parts, elements or related items so as to form a consistent and
orderly whole.
2.6.3 UNITY
It is the oneness, or wholeness, in a design that occurs when all parts work together to create a
cohesive whole. In this case all components or all parts of a work of art are combined in such a
way that the final result is a whole.
2.6.4 RHYTHM
Rhythm is the repetition of multiple parts in a composition to create a pattern, positive and
negative or other contrasting force. It is the recurrence of beat or tempo; a flow which is
accomplished by regulated visual unit. In this case rhythm is the result of repetition.
2.6.5 REPETITION
Repetition is the use of same visual elements or visual effects a number of times in the same
composition. It is a method used to re-emphases visual unit again and again in a marked
pattern.
2.6.6 MOVEMENT
Movement is the act of changing position or place away from something that exist or an
indication for the eye to travel through visual path on a picture, design or drawing surface.
18
2.6.7 BALANCE
Balance it is an equilibrium among interacting or opposing forces in a visual combination.
2.6.8 PROPORTION
Proportion is a comparative relationship between the parts to a whole. It is also express as the
relation of one thing to another in quantity, size, number, position, space and shape. For
example, in figure drawing, the models heads is often compared to the overall height of the
body.
19
CHAPTER THREE
METHODOLOGY
3.0 RESEARCH METHODOLOGY
This chapter of the long essay deals fundamentally with research methodology used. The
methods used are descriptive and analytic methods.
The descriptive method was used to describe the procedure through the whole long essay. This
is based on the fact that at a point in time of the research, it became difficult to gather and
analyze data instantly because the students were busy and cannot share the time needed to
help meet the analyses.
The analytic method was also used to deduce critically why most students of the School of
Applied Arts tend not employ effectively the basic design in their day to day assignments, and
not even been able to answer questions with confidence and competence.
3.1 POPULATION OF THE STUDY
The population for this long essay was centered on lecturers and students of the School of
Applied Arts of the Takoradi Polytechnic which comprises Graphics, Textiles, Ceramics, Fashion,
Sculpture and Painting.
Within this context, lecturers and students of the various Art
departments could be said to constitute a population.
3.2 SAMPLING
The students of School of Applied Arts of the Takoradi Polytechnic were chosen for the
sampling, this is because the project is to solve a problem in their domain and not the other
schools.
20
However, the sampling population cuts across only the students of the School of Applied Arts,
based on the fact that the problem was found around them.
3.3 SAMPLING SIZE
The sampling size was limited to five (5) students from each of the department of the School of
Applied Arts. The number was chosen for the research because looking at the time frame which
is barely three (3) months for the project to be submitted.
Moreover, dealing with students ranging from a hundred (100) to five hundred(500) depending
on the department ,it will not be suitable and portable to meet the deadline if the sampling size
is too large. The students were selected randomly from each department and from the various
levels, and that made the students to have equal and independent chances to be included in
the sample.
3.4 DATA COLLECTION
The primary techniques was chosen and used for this long essay. It was chosen to be the
appropriate one because the problem at stake which needs to be solved needs a first time data
collection. Under the primary technique questionnaire, interviews and observation were used.
More over, questionnaire, interview and observations were used in the data collection because;
the researcher taught that in the easy collection of data and opinions, questionnaire can be
prepared and given to the intended population to help elicit data for analysis in the project.
21
On the other hand, interview were undertaken in the data collection because, the researcher
found out that a snappy but concise interview can be conducted with the students and lectures
during their free period.
Mean while, observation was predominantly used because, the researcher has the freedom to
go to the various needed class rooms to observe without any interrogation to help fish out for
data, for analyses.
Again, it is a practically oriented course there by making observation a suitable technique for
data collection.
3.4.1 QUESIONNAIRE
Authentic questionnaires were prepared for students to answer. It was prepared in a way that,
students will have to tick or pen-down their ideas in connection with the questions.
3.4.2 INTERVIEWS CONDUCTED
Formal interviews were conducted with lecturers and students of all the departments that
forms the School of Applied Arts. Direct interviews were conducted in the official English
language.
3.4.3 OBSERVATION
Observation was made with ease because the researcher who is also a student is at liberty to
mingle with the students to help observe for data during normal class lectures.
22
CHAPTER FOUR
DATA ANALYSIS / DISCUSSION OF FINDINGS
4.0 BACKGROUND OF RESPONDENTS
The educational background or status of the researcher’s respondents was taken into
consideration. The researcher found out that, the Higher National Diploma (HND) pending was
dominant. This was because the population for the study was made of continuous students and
final year students who are yet to be awarded with the HND certificate.
More so, few of the respondents were Degree and Masters Holders in the case of the Lecturers
and Administrators.
The number of people who were given questionnaires and approached for interview was one
hundred and two (102). Two lecturers and hundred students.
4.1 THE NUMBER OF PEOPLE WHO RESPONDED TO THE QUESTIONNAIRE AND INTERVIEW
As mentioned earlier on, one hundred and two (102) people were involved in the filling or
answering of the questionnaire and interview exercise. Forty (40) were given questionnaire,
and sixty-two (62) were approached for the interview.
Out of the forty (40) questionnaire given out, thirty (30) returned which includes ten (10) spoilt
ones. Considering the sixty-two (62) people who were approached for the interview, thirty (30)
refused. And thirty-two (32) accepted the request for the interview to be granted.
23
4.2 ANALYSIS AND INTERPRETATION OF THE DATA
STATISTICS OF THE VARIOUS DEPARTMENTS
Below are tables with gender statistics of the various departments under the School of Applied
Arts.
4.2.1 GENDER
DEPARTMENT OF PAINTING
YEAR
MALE
FEMALE
TOTAL
1st
37
3
40
2nd
36
4
40
3rd
37
4
41
TOTAL
110
11
121
From the above, M
× 100
× 100
male, F
91%,
female, T
total. Where M
× 100 ⇒
× 100
11, T
121.
9%, therefore ninety-one percent (91%)
of the students were males and nine percent (9%) females.
24
110, F
4.2.2 GENDER
DEPARTMENT OF CERAMICS
YEAR
MALE
FEMALE
TOTAL
1st
8
1
9
2nd
8
0
8
3rd
7
4
11
TOTAL
23
5
28
From the above, M
× 100
× 100
male, F
82%,
female, T
× 100 ⇒
total. Where M
×100
23, F
5, T
28.
18%, therefore eighty-two percent (82%) of
the students were males and eighteen percent (18%) females.
4.2.3 GENDER
DEPARTMENT OF FASHION
YEAR
MALE
FEMALE
TOTAL
1st
16
53
69
2nd
10
53
63
3rd
5
46
51
TOTAL
31
152
183
From the above, M
× 100
× 100
male, F
17%,
female, T
× 100 ⇒
total. Where M
100
152, T
183.
83%, therefore seventeen percent (17%) of
the students were males and eighty-three percent (83%) females.
25
31, F
4.2.4 GENDER
DEPARTMENT OF TEXTILES
YEAR
MALE
FEMALE
TOTAL
1st
61
34
95
2nd
65
41
106
3rd
82
43
125
TOTAL
208
118
326
From the above, M
× 100
× 100
male, F
64%,
female, T
total. Where M
× 100 ⇒
× 100
208, F
118, T
326.
36%, therefore sixty-four percent (64%)
of the students were males and thirty-six percent (36%) females.
4.2.5 GENDER
DEPARTMENT OF SCULPTURE
YEAR
MALE
FEMALE
TOTAL
1st
17
0
17
2nd
11
3
14
3rd
14
3
17
TOTAL
42
6
48
From the above, M
× 100
× 100
male, F
88%,
female, T
× 100 ⇒
total. Where M
× 100
6, T
48.
12%, therefore eighty-eight percent (88%)
of the students were males and twelve percent (12%) females.
26
42, F
4.2.6 GENDER
DEPARTMENT OF GRAPHICS
YEAR
MALE
FEMALE
TOTAL
1st
283
48
331
2nd
239
61
300
3rd
251
47
298
TOTAL
773
156
929
From the above, M
× 100
× 100
male, F
%,
female, T
× 100 ⇒
total. Where M
× 100
773 , F
156 , T
929 .
83%, therefore eighty-three percent (83%)
of the student were males and seventeen percent (17%) females.
4.2.7 AGE GROUPS
The table below displays the average age groupings of the students in the School of Applied
Arts.
AGE
18
-
21
21
-
25
25
-
31
The figures above suggests that the average age of the student of the school ranges from
eighteen (18) to thirty-one (31).
27
4.3 CAN THE SUBJECT HELP PRODUCE A GOOD AND A COMPLETE ART WORK?
To buttress the idea as to how the student can produce a good and quality work, the research
had in one of his responds that, the subject has all the elements and principles of design that
makes up an art work, and proper application of it will also help achieve a complete work.
There are many ways that the elements and principles of design such as dots, lines, repetition,
harmony and many others can be used in an art piece to make it fantastic. To arrive at this, the
artist must use the right elements or principles at the right place and at the right time.
For instance when an artist decides to draw and shade a human figure; you must think of
balance during the sketch. Where as he considers using stroke of lines, dots for the shading. He
also ensures that there is harmonious relationship between the positive and negative areas of
the picture plane. It can be apply correctly to any of the art craft when the need arises.
Before a complete artwork is made, it is the sole responsibility of the designer or artist to plan
and have a mental picture of the end product. To do this with ease and flexibility, basic design
as an already inherent in the students will contribute largely in the art execution. Here they
have insight about the elements of design and principles of design, such that a particular
element will have to match very well with certain principle so that cohesiveness is created.
Penalizing or awarding students with low marks for their artworks or design keeps them alert,
because most students do not want. As a result, they try to implement or employ the necessary
features in respect to basic design for better marks.
It is very obvious that those who love artworks and buy artworks want the best and highly
finished works.
This preference calls for the artist or art students to use their knowledge about basic design.
28
At times before some people will by an art piece, they tend to ask every detail question about
elements and principles of design of that particular work, how and why it is been used.
Based on the findings, the researcher is of the view that exempting the elements or principles
will render a work incomplete.
4.4 TO WHAT EXTENT DOES THE SUBJECT PREPARES STUDENTS FOR THE JOB MARKET AND
MAKES THEM GOOD CRITICISERS OR APPRECIATORS OF ARTWORK?
Acquisition of knowledge in the subject helps students to know, that clients always want a good
job done which the student will know that it can be achieved by the right execution of the
subject’s content.
Employers on the other hand need employees who can criticize and appreciate a rough artwork
or design before they come out with final finish work for their customers.
Since artwork of any kind can be felt perceived, and admired, it becomes easy for the students
who have knowledge in the subject to criticize, appreciate and say something about an art
work.
At one point of the study of basic design at school, days are set aside for intensive jury. This jury
is continuously done so that it becomes part and parcel of the students. There by building and
shaping them to be good art curators.
So far as students are been inculcated with knowledge in the subject throughout the one year
study. They become conscious about the job market and its requirements. Also putting them in
a state of good examination of artworks.
29
4.5 DOES THE STUDY OF THE SUBJECT HELP STUDENTS TO UNDERSTAND AND KNOW WHY
THEY NEED IT?
Students being taking through the vitality of the basic design subject and really grasping; it will
automatically give them understanding of the need for the subject.
Rendering the elements and principles correctly in an artwork, understanding by observers and
other students becomes easy. Since beautiful work of art provides pleasure, it cultivates a sense
of willingness to know it implications.
It is most at times difficult for students to understand what they are being taught without the
use of teaching aids and demonstrations. But the subject is such that a lot of practical is
involved; because of this they give better understanding to students since they are able to
visualize and practice.
Moreover it is clear and must be understood that, it is not all art graduate or national service
personnel’s that can secure jobs at the industries and other institutions living the classrooms
bare and crying for teachers. Because of this necessary evil, art students are expected to learn
and know every detail of the subject so that when they find themselves teaching, they can
deliver very well based on their understanding of the subject as they have already studies at
school.
Further more to impact the benefits of the subject to the people or audience.
Looking at the rate at which Artists with low educational background are springing up and
producing works of art, which many of them produce the work for production sake and for
patronage, but lack understanding of their own work most at times.
30
This will be of great advantage to students who study the subject and been enlightened about
its benefits. Students are able to analyze critically and put meanings or understanding to most
artworks they encounter.
4.6 FINDINGS
The researcher found out in his research that, there are few females in the school of Applied
Art as compared to males.
This based on the fact that most females do not like academic disciplines or courses that
involves any element of drawing. They have the pre-conception that drawing is technical and
most at times meant for talented people.
Another reason of this cause is that, people have the opinion that, art in general has got a
spiritual influence which scares most female from the course there by resulting in only boys
offering the course.
Further more, there is the notion or opinion that boys do well in art than girls and also involves
physique and strength. Because of this girls are discourage from enrolling into art. In the
sculpture department for instance, only six girls are found undertaking the course as compare
to fifty boys which is not encouraging.
One cannot dispute the fact that, females will like to locate themselves in professions or jobs
where everything is soft and have lavish conditions. They prefer to sit in offices behind their
computers without any stress. But it is wrong because, activities involved in art is interesting
and serves as an exercise which helps in the management of human body.
31
Again, the researcher was able to notice that most female art students do not want art
materials like paint, clay, poster colours, inks, dyes, chemicals and others to soil their attire. In a
nut shell they perceive most art courses to be associated with filt and dirt which they dislike.
The researcher was able to observe that students find it difficult to comply by instructions by
their lecturers and fail to submit assignment on time.
To some extent most girls seek assistance from boys to accomplish their assignments. In most
situations, girls give out their assignments to boys for it to be done for them.
32
CHAPTER FIVE
5.0 SUMMARY
From time to time, several art works and designs keeps on flooding our campuses and on the
art market. Most of the art works fail to perform well, where as a few force their way through.
Basic design has indeed been the success story for the few Artist and designers who render
them well in their works. Thus, this is the exact course that this project is designed to achieve.
The project started by creating a platform of introduction, outlining problems that currently
exist with works of Art and the objectives of the project. In every human set up or entity. It is
very salient to know where one is coming from and to which direction one is heading. In line
with this, I further explained what several authors said in relation to various topics that has a
link to this project. This takes a form of related literature.
Methodology, where methods and techniques were chosen for collecting data. I ended the
project by analyzing data collected and discussing findings.
5.1 CONCLUSION
From the foregoing, by not doubt Artworks and designs will surely sell out perfectly and
admired if they should be given a different look all together by means of employing basic
design.
This will nevertheless bring out our Artworks and designs to march and compete with the ones
from the western part of our world.
33
5.2 RECOMMENDATION
In other to help re-inforce basic design for the School of Applied Art, I will advice that, there
should be thorough orientation and seminars for newly enrolled students and the continuous
students about the subject. Teaching aids and facilities in relation to the subject should be
provided for easier understanding and practicals.
The school library should be stuffed with current and updated books and reading materials that
pertains to the subject. Organizing educational trips and excursions that has a link to the study
of the subject.
Student’s projects should not be left as white elephant at the mercy of dirt and dust on the
shelves of the library but the situations whereby stake holders will annually visit out tertiary
institution to select projects works that can be polished up and used as a tool to trigger national
development.
34
REFERENCES
1. Laurie Schneider Adams (1994), History of Westhern Art. Brown Bench Mark Publishers,
pp˙ 21-31, New York.
2. Ervin A. Dennis and John D. Jenkins (1991), Comprehensive Graphic Arts.
Glencoe/McGraw-Hill Publishing Company, pp˙ 20-21, New York.
3. Bryan Lawson (1997), How Designers Think Reed Educational, Professional Publishing
LTD. pp˙ 8 Tottenham England.
4. Neil R. Carlson (2007), Psychology Pearson Education Int, Publishing pp˙ 3, Boston USA.
5. Marian L. Davis (1980), Visual Design in Dress, Publishing by Practise Hill, pp˙ 3 New
York.
6. Wucius Wong (1972), Principles of Two Dimensional Designs. Published by John Willey
and Sons Inc, pp˙ 5 New York.
7. Jacob E. Safra et al (1768), The New Encyclopedia Britannica, Standard Education Inc,
pp˙ 72 Chicago.
8. Richard Pell et al (1994), The World Book Encyclopedia, Volume (5).
9. Stephen Appiah (1996), Complete Guide To Graphic Design, Pentecoste Press LTD,
pp˙ 4-12 Accra.
10. Paul Procter (1995), Cambridge International Dictionary, Published by the University of
Cambridge. pp˙ 372 New Delhi.
11. Mary Stewart (2002), Introduction to Basic Design, Published by McGraw Hill, pp˙ 1-102.
12. S .K. Amenuke et al (1991), General Knowledge in Art Published by Afrique Press. pp˙ 8593 Accra.
35
BIBLIOGRAPHY
LAURIE SCHNEIDER ADAMS. HISTORY OF WESTERN ART. Brown bench mark publishers. 1994.
ERVIN A. DENNIS AND JOHN D. JENKINS. COMPREHENSIVE GRAPHIC ARTS Glencoe/McgrawHill Publishing company. 1991.
BRYAN LAWSON. HOW DESIGNERS THINK REED EDUCATIONAL. Professional Publishing Ltd.
1997.
NEIL R. CARLSON. PSYCHOLOGY. Pearson Education Publishing Int. 2007.
MARIAN L. DAVIS. VISUAL DESIGN IN DRESS. published by practice hall, 1980.
WUCIUS WONG. PRINCIPLES OF TWO DIMENSIONAL DESIGNS. Published by john willley and
sons inc. 1972.
JACOB E. SAFRA ET AL. THE NEW ENCYCLOPEDIA BRITANNICA, Standard Education Inc.1768.
RICHARD PELL ET AL. THE WORLD BOOK ENCYCLOPEDIA.BRITANNICA. standard Education
1768.
STEPHEN APPIAH. COMPLETE GUIDE TO CRAPHIC DESIGN. Pentecost Press Ltd. 1996.
PAUL PROCTER. CAMBRIDGE INTERNATIONAL DICTIONARY. Published by the university of
Cambridge. 1995.
MARY STEWART. INTRODUCTION TO BASIC DESIGN. Published by Mcgraw Hill 2002.
S.K. AMENUKE ET AL. GENERAL KNOWLEDGE IN ART. Published by afrique press. 1991.
36
APPENDIX (1)
TAKORADI POLYTECHNIC
DEPARTMENT OF GRAPHICS QUESTIONNAIRE
The researcher is a final year student of the above institution per suing HND Graphics. The
researcher is on the topic: RE-INFORCING BASIC DESIGN FOR THE SCHOOL OF APPLIED ARTS, as
a partial fulfillment for the HND. The purpose of this questionnaire is to gather information on
the above mentioned topic. The researcher will be very glad if you would answer the questions
below. This project is purely for academic purposes and information given will be dealt with the
necessary confidentiality.
INSTRUCTION: Please tick the correct answer.
SECTION 1:
1. Gender / Sex.
a) Male
b) Female
2). Current year of study.
a) 1st Year
b) 2nd Year
3). Age
a) 18 - 21
c) 3rd Year
b) 21-25
c) 25-31
4). Have you heard about Basic Design?
a) Heard
b) Not heard
5). what is Basic Design?
Does it describe a finished work?
a). Yes
b).No
6). Where did you hear it?
a). From the internet
b). School
c). None
7). Is Basic Design an artwork?
a) Yes
b) No
37
8). Is it a building block around which or on which artworks are made?
a) Yes
b) No
9). Do Graphic Designers need Basic Design?
a) Yes
b) No
10). Does it improve designing skills?
a) Yes
b) No
SECTION 2
1. What is element of design?
There are types of elements
a).Yes
b). No
2. Can Basic Design be used to communicate information?
a). Yes
b). No
3. Basic Design determines the final look of an artwork.
a). Yes
b). No
4. What are principles of design?
They are rules that guide an artwork.
a). Yes
b). No
5. Basic Design is a course for Graphics.
I it only used to introduce a student into the course?
a).Yes
b). No
6. How will you judge your artworks?
a). Impressive
b). Perfect
c). Need more practice?
7. Have ever made a design?
a) Yes
b). No
8. How will you judge your artwork?
Is it based on your knowledge on Basic Design?
a). Yes
b). No
38
9. How long did it take you?
a). 30 minutes
b). 1hr
c). 2hrs
10. How long do you study Basic Design in school?
A whole semester
a). Yes
b). No
39
(2)
TAKORADI POLYTECHNIC
DEPARTMENT OF GRAPHICS INTERVIEW GUIDE
The researcher is a final year student of the above institution pursuing HND Graphics. The
researcher is on the topic: RE-INFORCING BASIC DESIGN FOR SCHOOL OF APPLIED ARTS, as a
partial fulfilment for the HND. The purpose of this interview guide is to gather informations on
the above mentioned topic. The researcher will be very glad if you would answer the questions
below. This project is purely for academic purposes and informations given will be dealt with
the necessary confidentiality.
1.
In your opinion what is Basic Design about?
2.
Can Basic Design help produce a good and complete work?
3.
Does the study of the subject help students to understand and know why they need it?
4.
Why do think the subject need to be reinforced?
5.
To what extent does the subject prepare students for the job market?
6. Is Basic Design a subject to shape the students to be good criticizers or appreciators of
artworks?
7. Are you prepared to face the competition out there as an artist in respect to the subject?
8.
Why do you think Basic Design should be given more credit hours?
9.
How do you think the relevance of Basic Design is more than the other subjects?
10. If you find yourself to be a lecturer, how can you arouse the interest of your students in
Basic Design?
40