Julian Stanczak & Op Art

JULIAN STANCZAK & OP ART Selected Materials in the Cleveland Institute of Art Library Arnheim, Rudolf, Harry Rand, and Robert J. Bertholf. Julian Stanczak: Decades of Light. Buffalo, NY: State University of New York, 1990. ND 237 .S726 A4 1990 Color Color: Suite in Four Parts. Washington D.C.: Dov Press, 1993 Special Collections: N 7433.4 .S725 C65 1993 folio (artists’ book collection) Harmonic forms on the edge: geometric abstraction in Cleveland. Cleveland, Ohio: Cleveland Artists Foundation, 2001. N 6535 .C6 H37 2001 Houston, Joe. Optic nerve: perceptual art of the 1960s. London; New York: Merrell; Columbus, OH: with Columbus Museum of Art, 2007. N 6494 .O6 H68 2007 Julian Stanczak, A Retrospective: 1948-1998. Youngstown, OH: Butler Institute of American Art, 1998. ND 237 .S726 A4 1998 Julian Stanczak and Op Art: The Perceptive Eye. Cleveland: Stanczak Foundation, 2001. Video: ND 237 .S726 R4 2001; also DVD: ND 237 .S726 R4 2001a Julian Stanczak: at the Cleveland Institute of Art, August-October 2001: symphony in color. Cleveland, Ohio : Stanczak Foundation, 2002. Video: ND 237.S726 C53 also DVD: ND 237.S726 C53 2002 Julian Stanczak: Color=Form, A Retrospective. Traverse City, MI: Dennos Museum Center, 1993. ND 237 .S726 A4 1993 Julian Stanczak: color, grid. New York: Danese, c2010. ND 237 .S726 A4 2010 Lancaster, John. Introducing Op Art. London: Batsford; New York: Watson-Guptill, 1973. N 6494 .O6 L36 Licata, Elizabeth. “Anderson Gallery, Buffalo” [exhibition review], Artforum International, 30, (Summer 1992), 113-114. Meyer, Ruth. “Report from Cincinnati: op art on the street,” Art in America, V. 96 # 2 (February 2008), 80-81, 83. “Op Art: Pictures That Attack the Eye.” Time, Vol. 84 # 7 (October 23, 1964), 78-86. Op out of Ohio: the Anonima Group, Richard Anuszkiewicz, Julian Stanczak. New York : D. Wigmore Fine Art, Inc., 2010. N 6494 .O6 O62 2010 Ratliff, Floyd and Sanford Wurmfeld. Color Function Painting: The Art of Josef Albers, Julian Stanczak, and Richard Anuszkiewicz. Winston-Salem, NC: Wake Forest University Fine Arts Gallery, 1996. ND 195 .C64 1996 Rickey, George. Constructivism: Origins and Evolution. London: Studio Vista, 1968. N 6494 .C64 R54 1968 Rubin, David S. Psychedelic: optical and visionary art since the 1960s. San Antonio, TX: San Antonio Museum of Art; Cambridge, Mass.: with the MIT Press, 2010. N 6494 .P79 R83 2010 Seeing red: on nonobjective painting and color theory. Cologne : Salon, 2004. ND 196 .A2 S43 2004 Seitz, William. Responsive Eye. New York: Museum of Modern Art, 1965. N 6494 .O6 N44 1965 Seriographs and Drawings by Julian Stanczak, 1970-1972. Washington, D.C.: Corcoran Gallery of Art, 1972. N 6537 .S726 A4 1972 Stanczak, Barbara. Parallel paths singular quest: Barbara and Julian Stanczak. Cleveland, Ohio: Cleveland Artists Foundation, 2008. N 6537.S726 A4 2008 Visual Logic: David E. Davis, Ed Mieczkowski, John Pearson, Julian Stanczak. Cleveland: Cleveland Institute of Art, 1979. N 6494 .C64 C638 Young, Warren. “Op Art.” Life, Vol. 57 # 11 (December 23, 1964), 132-137, 140. Young, Warren. “Bringing Chaos out of Order.” Life, Vol. 57 # 11 (December 23, 1964), 138-139. For more information on Julian Stnczak and/or Op Art, use the library’s online catalog and Contemporary Artists Index to find additional books and exhibition catalogs and Art Source (CIA access only) to find more articles. See ARTstor (CIA access only), ArtNet, and AskART for images and additional information. Julian Stanczak’s official website has a wealth of information approved by the artist including a selection of images going back to the 1960s. cia.edu/library © Cleveland Institute of Art Library staff This document may be reproduced for educational purposes only. Last revised 7.2013 .

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Utilizing Adobe Illustrator's Blend and Transform in Designing Op-Art Items
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.44, 2016 Utilizing Adobe Illustrator's Blend and Transform in Designing Op-Art Items Randa Darwish Mohamed Assistant Professor in Printing, Publishing and Packaging Dept., Faculty of Applied Arts, Helwan University, Egypt. Abstract Op-Art can strengthen the product image and can combine culture elements which satisfies consumers’ visual requirement. Some applications of op-art are in security prints, fashion design, packaging design, architecture, interior design, publishing media, and printing designs. The problem is the few softwares specialized in Op-Art production. These softwares are based on geometric shapes in creating visual art items. Concerning the wide facilities of blend and transform options and effects in Adobe Illustrator software, many op- art items can be investigated. The goal is to highlight the importance of these tools options and effects and its ease, efficiency, and functionality in designing countless variety of op-art items. The availability, prevalence, and ease of use of the Adobe softwares are very important advantages that encourage designers to use in most of their works. The research aims to design Op-Art items by using Illustrator's blend and transform and utilizing these items in various designs. Keywords: Op-Art, Adobe Illustrator, Blend, Transform, packaging design, Guilloche. 1. Introduction 1.1 Op-Art (1965-70) Op Art can be defined as a type of abstract or concrete art consisting of non-representational geometric shapes which create various types of optical illusion. For instance, when viewed, Op Art pictures may cause the eye to detect a sense of movement (eg.
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Julian Stanczak
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