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art 101: Design I
lab four Form and Space
instructor Jackie Lo
Balance or unity depends upon the ability to control the relationships of two-dimensional forms within acomposition. 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
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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 shapebounded by free curves,
suggesting fluidity and
growth.
GEOMETRIC SHAPE: Ashape 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 (2”x2” 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 4”x4” squares in your sketchbook (see sketchbook dimensions below). Be
sure to label, in pen, each composition’s type of interrelationship.
Original
shapes:
Note, though a
dotted line
indicates the
original shapes
in the
intersection
and subtraction
examples, your
compositionswill not. Show
only the final
shapes.
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SKETCHBOOK MEASUREMENTS FOR FINAL VERSION:
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SAMPLE THUMBNAIL SKETCHES
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