balance + unity

focal point + emphasis 

isolation + dominance

symmetry 
balance + unity
bilateral symmetry divides a composition symmetrically in half either along the vertical or horizontal axis. 

bilateral vertical symmetry

Ed Ruscha, 2002, Step on No Pets

This type of design provides for an overall equilibrium in composition and thus, an overall balance + unity, without variety.

biaxial symmetry is a composition that has more than 2 axes of symmetry = vertical + horizontal. This guarantees that the composition has balance, both upper and lower parts of the design AND left and right areas of the design along Horizontal or Vertical axis > providing formal balance, and thus, complete unity.

Biaxial symmetry has the possibility of more than two axes. Snow flakes and kaleidoscopes have three axes of symmetry and are excellent examples of biaxial symmetry.

Inverted symmetry uses symmetry with 1/2 design inverted (flipped horizontally and vertically) to complete the composition. 

Dutch Queen playing card 1920 

Inverted symmetry is a variation of balanced symmetry, however this type of design often makes for heavily weighted, awkward balance. 

Radial symmetry is a related concept and can use multiple numbers of axes.  The image thus radiates outward (or inward) from the center like a star 

Stained Glass window

UniqueHenna.com

White henna mandalas

Symmetrical images have a strong sense of unity because at least 1/2 of their overall image repeats itself to complete the image. Simultaneously, they lack focal point due to the lack of variety, and loads of repetition, and pattern. However, what symmetrical compositions lack in variety they certainly make up in a unified composition.

Asymmetrical balance is informal balance without symmetry

Herve Leger Stripe Asymmetrical Bandage Dress

Balance creates visual interest in using the principles of design in effective ways.

From the above examples, balance may exist in a symmetrical composition, or it may exist in an asymmetrical balance.

An earlier assignment sought out to achieve a balance in figure to ground relationships that reversed themselves continually in the pictorial space > figure / ground reversal

This assignment asks you to control the visual interest, thus the distribution of design elements that create a variety of symmetrical and asymmetrical compositions.  

Jean-Honoré Fragonard, Girl on a Swing, 1767, French Baroque Rococo

Dominance is a focal point that stands out in isolation in relationship to its context.

It is an important principle of design that relates to the visual weight in any composition. Emphasis refers to the object or element which first catches the attention of the viewer. Both elements often work simultaneously. Visual designers create an area of emphasis or a focal point, which is considered as the visual starting point from which the eye will begin the journey of recognizing the whole composition. 

Recall: Gestalt: the sum is greater than its parts

methods

Part #1

find 2 examples of each balance variety below 

Place in your sketch books, naming compositional type

Supply the URL, designer's name, medium, title and date

i.  bilateral symmetry > vertical axis

ii. bilateral symmetry > horizontal axis

iii. biaxial symmetry

iv. inverted symmetry

v. radial symmetry

vi. asymmetry - focal point shape

vii. asymmetry - focal point visual weight

> At the conclusion of this excretes you should have 14 examples

Part #2 

Collage: a technique of composing a work of art by glueing on a single surface various materials, these usually include a variety of papers, parts of photographs, fabrics, theater tickets, and other flat surfaced ephemera.

Using 4 different colored papers (solid or patterned) cut out 4 sets of geometric shapes to include: 1 square,  2 circles, 1 rectangles and 2 triangles, per design. You may subdivide these shapes and vary their scale.

Each design will remain within the 'palette' of papers you have selected. You now have experienced numerous ideas in color theory and how it optically operates, thus, you need to pick your palette of 4 colors very carefully!

Biaxial

Using the pieces from Set #1 create a Bilateral (vertical or horizontal) symmetrical composition 8" x 8" 

Using the pieces from Set #2 create a Biaxial Symmetrical composition 8" x 8"

Using the pieces from Set #3 create a Radial symmetrical composition 8" x 8"

Using the pieces from Set #4 create an Asymmetrical composition 8" x 8"

Cut out each 8" x 8" unit cell and place on a substrate to create an overall 16" x 16" 

composition, float in an overall 20" x 20" composition

Organize each completed collage in order Upper L (1) > Upper R (2), Lower L (3) > Lower R (4)

Title lower left Balance + Unity

Sign + date on the lower right

media

colored craft papers, origami papers, wrapping paper, wall paper, Canson paper, printed newspaper, computer generated paper,  newsprint, fabric. Speak to me with other examples. 

Ruler, paper cement, scissors, Xacto knife,  compass, sketch paper, Bristol or Illustration board > white, black, dark gray

Final image scale = 16" x 16"

Overall design (including matt) = 20" x 20"

student work

nature inspired

final project ::  

the designer as creator - 
the power of potential !!

 !! 

finding inspiration from everywhere and anywhere! 

The potential can be sought out in all things.

The hard thing is allowing our minds to open up for their consideration.  

objective

Throughout the semester you have created works that have fit the guidelines of project specifications, while applying your own sense of uniqueness to your independent compositions.

For the final assignment, you will be applying the knowledge of the visual elements, concepts and applications we have employed throughout our class together to create a self designed and directed final project.

Your final work will demonstrate a thorough understanding of the visual language we have employed and the application of a number of the design concepts in your work. 

You will develop an original plan based on or combining any of the previous project techniques to create your own distinctive final project.  

This will be completed with a minimum of 12 evolutionary concept designs in your sketch books.

You may not reproduce another project similar to one that you have previously created. 

You may combine parts of previous projects with your own variation to create your new project.

Take Ernst Haeckel, (February 16, 1834 – August 9, 1919), a German philosopher, biologist, naturalist, physician, professor and artist found inspiration from a myriad of things.  
Each of you will start here.

before beginning:

Self Designed project plans must be reviewed by me during our next class meeting.  

Think over everything we have covered.

Our initial review will be your starting point, evolve it from there!

you will need to complete:

A written narrative proposal (1 page), plus your initial 4 thumbnail sketches

organize it!

1. What concepts are you applying?

2. What fundamental elements are you targeting?

3. What materials will you be using?

4. What size will the final piece be?

5.  Does your material choice relate to the concept?

6.  Time rationing, yes, time is a material you must consider!

principles of design + concepts we have covered

Types of Unity:

Symmetrical - bilateral / biaxial / inverted

Asymmetrical or Occult practices = asymmetrical mode of composition 

Radial Symmetrical

Emphasis and Focal Point

Isolation and Placement

Scale and Proportion

Scale Confusion

Balance

Rhythm, Pattern + Motion > Shapes and Repetition

 Line

Actual + Implied

Contour edge that defines Form + Shape

Line Quality that is emotionally charged

Directional, weight, visual speed, et al.

Shape + Volume

Representational & Abstract

Non Objective Shape

Positive + Negative Shape

Figure + Ground relationships

Texture:

Actual + Implied textures

Rhythm +Pattern (Variation + Regularity)

    

Space:

Actual & Illusionistic space

Defining Space via various concepts

Location

Placement 

Scale

Overlap

Figure Ground Relationship

Perspectival Systems – linear perspective vs. placement 

Illusion of Motion

     

Value:

Emphasis of Focal Point

Translating local color to local value

Illusionistic visual Weight

Gradients of local and optical color

Monochroma / polychromatic

    

Color:

Local Color & Applied Chroma

Hue

Value

Intensity

Color Wheel and variety

Complimentary colors 

Secondary

Tertiary
Analogous 

Vibrating Compliments 

Color > Space > Temperature

your inspirational source 

The illustrative works of Ernst Haeckel (1834-1919), an eminent German biologist, philosopher and illustrator. 

He created detailed drawings of radiolarians, siphonophores, jellyfish, octopi and other marine life-forms he created remain some of the most beautiful and alluring illustrations of scientific illustration ever created. 

methods

1. You need to do a your research and find a Haeckel illustration that will be the inspiration behind your work.

2. Print two copies, one to be adhered into your sketch book. 

The second to be submitted with your written proposal.

3. Your completed work will be designed by you and inspired by the Art & Design discipline you are engaged in; Fashion Design, Interior Design, Studio Art, Photography, Visual Communications.

4. Create a one full page, narrative written proposal (minimum) that describes your process, what concepts you will be targeting, your materials. Plus 4 initial thumbnail sketches to be handed in at your initial project planning session.

5. Allow more ideas to germinate through your continued engagement. 

You will develop a total of 12 thumbnail sketches in your sketch book.

6. Begin and steer your final work to a successful conclusion of thoughtful organization of concept, evolutionary growth and exquisite craftsmanship. Do not forget to think about how it will be presented. Will your presentation hang from the wall, suspended from the ceiling, sit on the floor?

7. When presenting your work you will need to include copies of your evolutionary sketches AND the Ernst Haeckel illustration.

8. Reminder, this is the culminating project of the term, so bring in all that you can to the design and conceptualization of your work.  Final Exam Block = TUES MAY 3rd 12:20-2:20 pm

2 page paper

To accompany the evolutionary process of your creative design, you need to submit a two page (minimum) paper that thoroughly explores a critical analysis of your overall all project.  

• In your paper you need to speak about the concepts and principles of design from the entire semester you are employing and how they connect to Haeckel. 
• Review how you organized your ideas > the evolution of your ideas, how they developed and changed, and how they were generated via Haeckel.  
• What materials did you employ and why? How do they connect to concept and original Haeckel inspiration. 
• How does the overall presentation of your project relate to Haeckel?  Does it show an evolutionary process, and/or something else?
• Make sure you go over the list of the formal elements and concepts we have discussed and speak to as many points as you can. 
• You may use this paper as your talking points during our final critique, and will hand it in following the critique.

Ernst Haeckel's Crocheted Coral Reef

Inspired by Ernst Haeckel's 19th century illustrations

nature inspired / designer created

Crustacean inspired

daVinci drawings towards flight

Add caption

Nick Cave, Sound Suit

Ernesto Neto, Hugging Chairs

Alexander McQueen Armadillo Shoe & Computer Generated flying machine

Walton Ford, The Island

Sarolta-Bán, Surrealist photo

Antonio Gaudi (1852-1932), Sagrada Família, Barcelona, SPAIN

student work

student papers Haekel's inspired

Starting with Ernst Haeckel’s Starfish & Coral Plate and Ascidiae Plate as the inspiration of my final project, I was able to create the plans for a beautiful contemporary, two-story, one bedroom, one full bathroom, and one half bathroom, home on a private section of beach front that faces the Pacific Ocean. To the rear of home there are multiple acres of wooded property providing the client with the best of both worlds in a beach house design. I organized and evolved my ideas mostly in the computer software Google SketchUp, and I recreated these evolutions on paper for my 12 evolutionary sketches and presentation boards for the final critique. 

The main developments and changes I made involved taking a symmetrically balanced floor plan and making it asymmetrically balanced by relocating the spiral staircase from the center to the upper right side of the floor plan design. Another major change in the design was adding a half bathroom to the main floor in place of a small reading nook so that guests would not have to enter the master suite on the second floor to use the restroom.  These simple changes really evolved the flow and functionality of the design. 

My designs were each generated from Ernst Haeckel’s two, 19th century plates (Starfish/Coral Plate & Ascidiae Plate). I created a floor plan inspired by the bottom left design on his Starfish/Coral Plate (c. 1900) and an interior color palate from his Ascidiae Plate (c. 1900). The materials I used and the outcome of the project relate more towards the design process within Interior Design than they do in other areas of art and design. I used the computer software Google SketchUp, watercolor paper and markers, internet resources, and presentation materials. Overall, my presentation still has a distinct correlation with Haeckel’s pieces, but they evolved greatly throughout the process using contrast and many other design concepts and principles I learned this semester. The concepts I covered in my final project are balance, radial symmetry, actual texture, pattern, defining space, emphasis, focal points, perspective, shape, scale, volume, proportion, monochromatic color palette with advances of highly saturated color, contrast, and how one color can turn into multiple colors by the colors surrounding it. 

The main concept I want to cover in this project was how a single color can trick the eye into believing it is multiple colors based on its context and surrounding colors. I accomplished this within the furniture in my living room design concept. The yellow in the rug seems to be less saturated than the yellow pillows on the couch when in reality they are the same color. This is because of the context they are in. The yellow rug is on a darker colored floor while the yellow pillows are on a white color couch. Another main concept I used was contrast. My design is similar, but contrasts greatly from the original piece. I transformed Haeckel’s Starfish & Coral piece into a softer more organic form than the original geometric form creating a contrast to the original. Another contrast within the piece is the sharp geometric front porch contrasting with the soft cylindrical building. I also used a slight radial symmetry within the basic shape of floor plan, but it transitions towards asymmetrical once the furniture and interior walls are in place. My color palette consists of a contemporary monochromatic color scheme with pops of highly saturated primary colors including blue and yellow. In the rendered living room space I used a series of gradated lines to show value, shade, and shadow on the curved wall of the space. I used lines to transform a representative figure; the starfish, into an abstractive shape; the floor plan. This technique of viewer identification was discussed by McCloud throughout Chapter Two: The Vocabulary of Comics in his comic book, “Understanding Comics.”  Although I couldn’t cover all the concepts I used in my project in this final write up, I learned a lot this semester, as shown in my final project.