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art 101: Design I

lab four instructor Form and Space Jackie Lo

Balance or unity depends upon the ability to control the relationships of two-dimensional forms within a composition. You have displayed an understanding of line and shape and their relationship to the picture plane. This exercise challenges the designer to control how the viewer reads a composition. By creating a definite focal point for the design, the challenge will be to maintain a balanced composition. The interrelationships of shape
DETACHMENT: Two forms which are separate from each other although they seem to be very close to each other.

TOUCHING: As shapes draw close, they begin to touch.

UNION: Similar to overlapping and penetration, the shapes become one larger shape. There is no visual hierarchy or shared transparency.

OVERLAPPING: One shape appears to be on top of the other by cropping or blocking a portion of the one below.

PENETRATION: Similar to overlapping but the two shapes share a common third shape. The contours of both shapes remain visible.

SUBTRACTION: When an invisible form crosses over a visible form. The portion of the visible form which is covered up becomes invisible. INTERSECTION: When an invisible form crosses over another invisible form. The portion of the forms which cross becomes visible.

Materials Needed: Construction paper, sketchbook, pencil, eraser, metal ruler, compass, X-acto knife, cutting mat, scissors Problem: Utilizing the concepts of figure/ground, positive/negative space and contrast, apply the above mentioned interrelationships of shape in a series of compositions. Create seven compositions where one of the above

interrelationships of form creates the focal point of a composition. Each composition will contain one geometric shape and one organic shape. The geometric shapes will be limited to the square, equilateral triangle, and rectangle. The organic shapes should be inventive and sensitive to the definition. The final compositions will be construction paper in your sketchbook
ORGANIC SHAPE: a shape bounded by free curves, suggesting fluidity and growth. GEOMETRIC SHAPE: A shape constructed mathematically. Can be rectilinear or curvilinear

1. Create one final composition of each following relationship of form: Detachment Touching Overlapping Union Penetration Subtraction Intersection 2. Label each composition accordingly 3. The compositions should strive for a figure-ground shift as in the previous exercise and should avoid placing the area of emphasis directly in the center of the composition. PROCESS: 1. In your sketchbook, begin by developing 12 organic shapes. 2. Combining an organic shape with a geometric shape, you will create your 4 thumbnail (2x2 each) compositions for each relationship (4x7 = 28 total thumbnails) 3. After the thumbnails are done, create a template of each shape, then transfer your best designs (one of each interrelationship) into 4x4 squares in your sketchbook (see sketchbook dimensions below). Be sure to label, in pen, each compositions type of interrelationship.

Original shapes: Note, though a dotted line indicates the original shapes in the intersection and subtraction examples, your compositions will not. Show only the final shapes.

SKETCHBOOK MEASUREMENTS FOR FINAL VERSION:

SAMPLE THUMBNAIL SKETCHES