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Introduction to VCD 2VCD 13001

1

The goal of this project is to abstract the elements of point, line and plane from the visually familiar, ie., an object or photograph of an object. We will isolate these elements through simplification and use of organic and geometric forms.

Shaedler ruler, triangle, linen tester, bristol board, hot press illustration board, tracing paper, black match paper, ruler, T–square, french curves and/or templates, masking/artist's tape, Studio-Tac, micron pens, X–acto knife & blades, pencils, lead pointer and eraser.

Sketch Investigation Phase

First select an image of an object from the index provided, on the basis of its contrast of shape, size, texture, position, direction and negative/positive space relationships. Mount the image in the center of a piece of bristol board and leave a 2'' border on all sides.

Using a second piece of bristol and micron pen, create a 2-up inked template, each with one frame of reference at 8" x 8" and a second perfectly centered box inside at 6" x 6". Once you have serveral templates, begin to translate the actual elements from your image into abstract elements, retaining their relative size and position. Concentrate on making pleasing com-positions. Be aware of how the elements you chose to render relate to the overall frame of reference. Label each tracing with the correct category name in the lower right corner of the sketch, just outside the frame of reference. Continue this process until you have completed the sketch investigation.

1. Contour drawing (1) 2. Isolate the Points (2) [note: a point can be up to 3/8" in diameter] 3. Isolate the Lines (4) 4. Isolate the Planes (4) 5. High Contrast (1) 6. Expressive Interpretation of Points (2) 7. Expressive Interpretation of Lines (4) 8. Expressive Interpretation of Planes (4) 9. Interpret Planes as Texture (1) 10. Combinations (5)

After completing the first nine categories, begin to overlap your tracings, Start to find new combinations, including point and line, line and plane, and point and plane, and finally point, line and plane. Experiment with combining organic elements with geometric elements. Omit unimportant areas and vary the weight, style, and size of the points and lines. You need not follow your tracings exactly.

Make all your tracings neat, using templates, curves, and straight edges wherever necessary. This will be the first time that your sketches will be formally evaluated and graded, so craft is critical. Take care of your sketches, The sketch process will be presented in booklet form for final presentation. Book assembly will be demonstrated in class.

Sketchbook & Final Rendering Phase

Sketchbook: Bind your sketches from above using directions provided in class, lining up all frames of reference, and using the same number and order of pages. Mount a copy of your image on hot press illustration board as the back of the book.w

Rendering: Select your most dynamic combination drawing and enlarge them to an 8'' x 8'' square. Render the drawing on hot press illustration board cut to 12'' x 13''. Leave a 2'' margin on the top and sides and a 3'' margin on the bottom. Use templates and other technical tools for a precise rendering. Tracing paper and match paper flap and label the finished art.

Label each on the back with name, section, instructor and date.

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Purpose

Materials

1.1 Part One

1.2 Part Two

Problem 1Point, Line and Plane

Problem


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A form is recognized as a point because it is small. Small, of course, is a relative term. A form may appear fairly large when it is confined in a tiny reference frame, but the same form may appear rather small when put inside a much greater reference frame.

The most common shape of a point is that of a circle which is simple, compact, non–angu-lar and non–directional. However, a point may be a square, triangle, oval, or even somewhat irregular in shape.

Thus the main characteristics of a point are that its size should be comparatively small, and its shape should be rather simple.

A form is recognized as a line for two reasons: its breadth is extremely narrow, and its length is quite prominent.

A line generally conveys the feeling of thinness. Thinness, like smallness, is relative. The extreme ratio between length and breadth of shape makes it a line, but there is no abso-lute criterion for this.

Three aspects should be considered in a line:

The overall shape: This refers to its general appearance, which is described as a straight, curved, bent, irregular or hand–drawn.

The body: As a line has breadth, its body is contained within its edges. The shaped of these two edges and the relationship between them determine the shape of the body. Usually, the two edges are smooth and parallel, but sometimes they may cause the body of the line to appear tapering, knotty, wavy or irregular.

The extremities: These may be negligible when the line is very thin. But if the line is quite broad, the shapes of its extremities may become prominent. They may be square, round, pointed or any simple shape. Points arranged in a row may evoke the feeling of a line. But in this case the line is conceptual and not visual, for what we see is still a series of points.

On a two–dimensional surface, all flat forms that are not commonly recognized as points or lines are forms as plane.

A planar form is bound by conceptual lines which constitute the edges of the form. The char-acteristics of the conceptual lines and their interrelationships determine the shape of the pla-nar form. Planar forms have a variety of shapes, which may be classified as follows:

Geometric: constructed mathematically. Organic: bounded by free curves, suggesting fluidity and growth. Rectilinear: bound by straight lines which are not related to one another mathematically.Hand–drawn: calligraphic or created with the unaided hand.Accidental: determined by the effect of special processes or materials, or obtained accidentally.

Planer forms may be suggested by means of outlining. In this case the thickness of the lines used should be considered. Points arranged in a row can also outline a planar form. Points or lines densely and regularly grouped together can also suggest planer forms. They become tex-ture of the plane.

Form as Point

Form as Plane

Form as Line

Problem 1Point, Line and Plane

1Problem


33

1Problem

�

Problem 1 Sketchbook construction and presentation

... . .25"

.5" .375".375"1.5" 1.5"

Staple locationStaple location

8 inch square hot press mounting board

6 inch square frame of reference (centered in 8x8) for mounting object image

1" margin all around

�


.5"

.5"

.25"

1"

9"

9"

Score these lines to aid in folding

�


Notes:

Holes for the staples should be made through the hot press board using a push pin. Line up each “sketch” over the

mounted original image and carefully punch holes, with a push pin, through each page using the 8x8 hot press as a tem-

plate. Carefully erase any and all pencil on the individual sketches using a white plastic eraser. Be careful not to wrinkle

the paper.

After the match paper has been measured, scored, cut out, and folded, fold the match paper towards you along the first

fold line up from the bottom of the match paper. Line up the top of the board and the folded match paper, turn the board

and the match paper over and carefully punch holes through the folded match paper.

Push the staples through from the back of the board (�) (with the tines protruding through the white side of the board)

and, using the pre-punched holes in the sketches, stack the sketches on the staple legs. Start with steps 11 on the

bottom of the stack and work your way up to step 1. (�) The match paper goes on top of the stack. The staple legs go

through the 2 layers of match paper (because it is folded forward). Bend the staple tines flat. Wrap the folded flap of

match paper around to the back and secure with a piece of double sided tape.

The pages of tracings and the match paper cover will overhang the 8x8 square of hot press board (�) and will need to be

carefully trimmed with the steel rule and a fresh xacto blade (4).

Staple

Back of the hot press

board with pages and

match cover mounted.

Overhanging

tracings and

match paper.

Trim using steel

rule as a guide.

Align the rule with

the edge of the

board and cut the

overhanging pa-

pers using a fresh

xacto blade.

(�) (�)

(�) (4)


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To explore how active, dynamic compositions can be created within the organizational struc-ture of the grid.

Tracing paper, marker paper, bristol paper, black match paper ruler, T-square, triangle, masking tape, black markers, micron pens, Studio-Tac, X–acto knife, pencils, lead pointer and eraser.

Using the nine–part grid provided as a master, make photocopies for rendering a series of half–size marker rough layouts.

Square Unit Forms

Cut the square units in your packet the following approximate sizes:

Super Unit forms 3'' x 3'' Sub Unit forms 1-7/16: x 1-7/16'' 3'' x 6-1/8'' 5/8'' x 5/8'' 1/4" x 1/4

These will be your unit forms. Begin by placing your black squares onto the grid provided in your packet. Explore the positive (black) areas and the negative (white) areas and the dynam-ics between the two. You must use at least one super unit in each composition. Move the unit forms around until you discover a successful arrangement. Make sure that each square is aligned in an appropriate square position on the grid; all super unit forms must stay within the nine parts of the grid, but sub unit forms may be placed within any modules. Do not join/overlay/knock out shapes or overlap the gutter areas of the grid.

With the small scale master provided, transfer each successful arrangement onto a marker paper overlay. Use your T–square, triangle and black markers for this process. Outline the shapes with a fine marker and fill in the shapes with a more broad marker. Good craft is essential. Render each design with clean, crisp lines. Allow for a 3/4'' frame around each composition as you will trim out to this dimension, as shown on the template. Continue your investigation until you have a minimum of 10 variations.

Line

In this phase you may now include the linear elements to the composition. You may also place super unit forms in any module or delete them, if you so desire. Once again, refrain from making any reversal, or knock outs. Units with right angles are also to be avoided.

Investigate the visual possibilities with these new, additional, components. Strive for integrated, dynamic, asymmetrically balanced compositions. Continue your investigation until you have a minimum of 5 variations. Render these in the same way as in 2.1.

Final Presentation

Chose two final designs, one from each category, to be reproduced at full size. Using a pencil, transfer these designs to bristol by lightly drawing the parts of the grid needed for the design in the smallest unit size necessary to align the elements. Use black match paper to create the positive shapes. For the smallest square and thinnest line, you may use micron pens to carefully render them. Adhere the paper with Studio-tac. The final presentation should be neat, clean and square. Shapes should be cut with clean edges and right angles. Finished trimmed size of bristol is 10–1/4" x 10 1/4" square. Flap the two bristol boards with tracing and match paper.

Hand in fifteen strongest marker variations in clear report binders grouped by category, cut down to 7 1/8" x 7 7/16" (fit to template in packet).


Purpose

Materials

Procedure

2.1 Part One

Problem TwoGrid Systems

2.2 Part Two

2Problem

2.3 Part Three


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3/8" 1" margin all around

2Problem


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Purpose: To extend knowledge of the syntactic (formal) aspects related to specific page design parameters.

To develop an understanding of working with the components of type and various image components in relation to specific grid structures and pragmatic format requirements.

Procedure: For this problem, 2 page designs will be developed, each incorporating the specific components indi-cated below that will be chosen from your packet The 7 components required for each design are:

Head Subhead Text type (500–1000 Characters) Image(s) Photo Caption Folio Line/Bullet Element(s)

3.1 Part One Rectangular Image Treatment

Create a page design for an 8 1/2" x 11" format that is either 5-column or 6-column, that incorporates rectangular (or square) photographic imagery from the image kit provided. The quantity of image information is up to you.

Establish a clear hierarchical order between the typography and the imagery. Keep in mind their relationship to one another. Remember that size is not the only way to create hierarchy. The page design may be either type dominant, or image dominant. Strive for an asymmetrical, well balanced composition with an integrated use of space. Note that small solid rectilinear elements may be used as point units within your design. You may also consider the use of numerals, or letterforms as small dot elements.

3.2 Part Two Internal Structure

Create another page design for an 8 1/2" x 11" format that uses the standard imagery provided from the image packet. In this phase, the imagery is arranged using a more free method, not with a grid dom-inance. Think of the image now more as pure form, or as a silhouette. As with part one, small solid basic elements, (rectilinear, or dot forms) may be included in your design. You may also consider the use of numerals, or letterforms as small dot elements. Here you may crop and bleed the imagery.

In this phase allow the structure and character of the main image/imagery to guide you in the arrange-ment of elements within the format. Review your image closely: what shapes, directions or textures exist? What do these characteristics suggest for the overall configuration of the page design? Let the internal structure of your image direct your design decisions.

With the imagery as the dominant force, experiment with the placement and arrangement of the addi-tional elements. Can similar shapes and relationships exist with the type for example, or with the sec-ondary imagery? This is your opportunity to be very expressive and experimental.

Keep in mind all of the concepts previously discussed: hierarchy, spatial relationships, alignment, size contrast, positive and negative space, harmony and balance of form.

3.3 Part Three Presentation: Pick your strongest composition from each part and create two high quality xerox reproductions of each. The first set should be adhered to 12 1/2'' x 16'' bristol board using studio-tac. Rule the frame of reference with micron.Tissue and cover flap them.The additional copies do not need to be mounted.

Please write your name, class time, class day, and problem number on the back of the board on the bot-tom lower right corner.


Page Design Series

VCD 01.8.02

3Problem


1111

Create a four–page brochure using a grid, formal design principles and the elements of point, line and plane to achieve consistency and visual interest.

Develop a grid system to be used for a sequential group of four pages: front cover, inside spread and back cover. The brochure needs to include a minimum of the following compo-nents: 2 Headlines 3 Subheads Text type (a reasonable amount) 3 Page numbers (folios) Images Captions

Brochure Design

Using these elements it is possible to make a page typographically dominant, or image dominant, or a subtle combination of the two. Typography should be appropriate to the imag-ery chosen.

Keep your type styles consistent throughout the brochure. If using more than one typeface, use those which compliment one another. Consider how bold, light, condensed, italic, all capi-tals, etc. may effect hierarchy and formal relationships. Do not use more than two or three dif-ferent typefaces. Sizes, weights, and styles within a typeface are unlimited.

Your imagery may be cropped, silhouetted, reduced, enlarged or used in repetition. Be creative with your imagery.

Organize your information in a concise, visually stimulating manner. Use the grid to provide structural continuity. Consider alignments that flow from one page to another. Rules and dot elements may be used to help guide the reader and assist in establishing a clear sense of order. Explore the entire tonal range of grays for depth and texture.

This project is the culmination of all the principles taught in this course. It is the project in which you should bring all that you have learned together into a well–considered, well–designed, finely crafted, dynamic design. Unity, diversity, clarity, visual interest, and structure are essential components. Have fun with this project! Be creative, consider doing the unex-pected or unusual.

Final Presentation

Prepare your final compositions on 8-1/2'' x 11'' pieces of bristol board which you have bound together. Make TWO copies of your page designs on a high quality xerox machine so that your final pages are on one clean surface with good contrast: rich blacks and pure whites. Carefully trim out the copies and mount on the prepared bristol board dummy. Additional information will be provided concerning the construction of the brochure.

Purpose

Materials

Problem FourBrochure

4Problem

4.2 Part Two

4.1 Part One


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Headlines and Folios (page numbers)

Remember that a headline does not need to be large, or necessarily at the top of the page to be effective. Its importance is determined by its value and placement. It can be divided into sever-al lines or be interrupted by and image. Try a non horizontal treatment or experiment with the spacing of the letterforms. Try various locations and typographic treatments for your folios; keeping the overall page design in mind.

Center SpreadHave you treated the center spread as an integrated unit? Are there relationships in your design that could be effective in a cross gutter configuration? How does the front cover design relate to the inside spread? Are there interesting transitions from the inside spread to the back cover, as well? Is there an interesting balance between those components that are constant and those that are more dynamic?

CoversIs the front cover an interesting lead into what is to come? Does the back cover provide an appropriate summery and closure for the brochure’s main message? Do the covers unify the piece? Is there a simple graphic system that hints to the content?

Consider the Following Principles and Relationships:

ClarityAre the relationships and contrasts clear? Have you used the grid effectively? Are there align-ments that flow from page to page? Is there an interesting use of white space? Do they pro-vide places of visual rest?

HierarchyAre the orders of importance clear in type and image? Have you given careful attention to size, value, and placement relationships? How do the positive and negative spaces effect the hierar-chy of your design?

SequencingHave you maintained a consistency in your typographic treatments while avoiding an overly static approach? Are rules, bullets, bands and other graphic elements used in a consistent and interesting fashion? How does the treatment of images fit with the other design consider-ations? Does your brochure feel as though it is part of a family?

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Special Notes

Problem FourBrochure

4Problem


1313

Glossary

AbstractionA form originating from a real object, then simplified, by the designer, to express an essential aspect or quality of it, rather than its appearance.

AestheticsA philosophy, or theory of beauty.

AnomalyAn irregular, or dissimilar form in a design in which regularity and similarity prevail.

AsymmetryA non symmetric treatment of elements. Achieved by utilizing separate and opposing forces made by the arrangement of unequal groups of elements interrelated to achieve sta-bility and balance in a non–static arrangement.

BalanceA state of equilibrium, due to separate ele-ments in equal opposition or equal attraction to each other.

Static BalanceWhen separate and opposing elements are equal and thus at rest: a formal balance.

SymmetryA balance of a composition by identically reflecting the parts on one half onto the other. It is the most obvious form of bal-ance.

Radial SymmetryBalance achieved by the arrangement of ele-ments in circular pattern around a central point.

Approximate Symmetry:A balancing of a composition by mostly identical reflecting part on one half onto the other half. Very close to perfect symmetry. More commonly found in design than perfect symmetry.

BiomorphicPertaining to form similar to or derived from living organisms; naturalistic.

CalligraphicHaving to do with, or resembling beautiful and elegant handwriting: a form that appears to have been created with a brush or pen.

Chiaroscuro(Italian: literally; “Light–Dark” The distri-bution of light from a single source on an object, creating highlight, shadow and shade that expresses the object’s volume.

CollageA harmonious composition formed by the application of various objects or printed materials onto a ground.

Conceptual ElementsConceptual elements are the ideas that are behind the formal treatments. Conceptual elements are invisible but seem to be present. For example, a point at the tip of a shape, a line marking the contour of an object, or a plane indicating the object’s surface. The object’s volume of space is another concep-tual consideration.

Point: An indication of position. Has no length or breadth. It is the beginning and ending of a line and can indicate where two lines intersect. Line: Is the path of a points movement. It has length but no breadth. It has position and direction; it is bound by points and it forms the boundary of a plane.Plane: Is the path of a line in motion. It has length and breadth, but no depth (vol-ume). It has position and direction and is bound by lines. It has a flat surface of two dimensions. It defines the external limits of a volume.Volume: Is a path of a plane in motion. It has position in space and is bound by planes (each side being a plane). In two –dimensional design, volume can be expressed only by illusion.

CurvilinearA form defined by a curving line.

DominantEmphatic and/or superior in position, size, quantity or character. This does not necessar-ily mean “the largest”.

DynamicExpressing movement, energy or change. An aesthetic equilibrium of parts which, con-sidered separately, are unstable, (opposite of static). A new and exciting idea.

Figure / Figurative ElementsA form in a composition that appears whole, complete and of primary importance. It is separate from the picture plane.

Figure / Ground RelationshipThe capacity to distinguish between object and background on a picture plane.


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Focal PointA place of optical concentration. Where the primary level of interest is located. Depending on the degree of emphasis (in relation to all other components), it may be enhancing or distracting to the overall com-position.

FormA shape of definite size, color and texture.

Positive FormA form that appears to occupy space.

Negative FormThis is the counterpoint to the Positive Form mentioned above. A negative form is one that appears to be empty. It is surrounded by occupied space.

Form as Point (Dot)This form most commonly occurs as a small circle, or dot. Any element of small size, or simple shape, could be considered as a point, or dot, element in an overall design context.

Form as LineThis form is often rectilinear, and is relatively long, thin and continuous. It may appear straight, curved or jagged.

Form as PlaneThis form appears static, or unmoving. Its shape can be geometric, organic, rectilinear, irregular or hand–drawn.

Frame of ReferenceThe line or the physical edge of the surface that defines the limits of a composition or picture plane. It should be considered an integral part of the composition.

GradationA transition in steps or regular intervals that increases, or decreases in an orderly fashion. It creates as sense of growth, or progression and suggests the passage of time and space.

GroundThe environment of a figurative element within a picture plane. It appears to be whole, lying underneath or behind the figure.

HarmonyThe quality of agreement or similarity between parts of a composition. A pleasing, or congruent arrangement of all compo-nents.

HierarchyThe-relative importance of interacting elements within a composition. Selective

emphasis of various parts, or conceptual levels within a design. The sequence in which elements of a composition are viewed.

Linear PerspectiveA system of creating the illusion of space in a two–dimensional design. By establishing a vanishing point on the horizon line and gen-erating lines from it, the for shortening of objects and the relative proximity of objects to the viewer can be suggested.

MassA form of considerable size in relation to the size of the picture plane; suggesting bulk or weight.

MediumThe material in which a work of art is cre-ated: pencil, paint, paper, lithography, film, fiber.etc.

MontageA combination of several distinct and com-plete compositions or objects, either super-imposed or aligned, resulting in a composite design. It can either suggest aspects of a single subject, or the passage of time–(ie. storyboards, comic strips).

NaturalisticImitating nature, organic; an object’s precise perimeter. The opposite of abstract.

Non–ObjectiveNon–representational. No real or intended resemblance to an object’s natural appear-ance; expressionistic.

Optical CenterThe optical center of a design occurs slightly above its geometric center.

OrganicFree–form. Suggesting fluidity and growth.

PerceptionThe integration of sensory impressions of an object or event, with the personal mental images and associations from past experi-ences of the artist.

Picture PlaneThe surface area within the frame of refer-ence.

ProximityThe relative nearness of elements in a design.

RectilinearA form bound by four straight edges with ninety-degree corners.

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Glossary

Relational Elements in 2–D Design

DirectionDirection is determined by the viewer’s posi-tion, the frame of reference and the relative position of components in the design.

PositionWhere elements fall, or are placed, within the frame of reference.

SpaceMay be occupied or empty, flat or created with an illusion of depth. Space is the con-tainer. or stage, that binds together all visual components into a whole.

GravitySince we experience the force of gravity in our daily lives, we often will attribute its influence to two–dimensional abstractions, as well. Forms may have the illusion of heavi-ness, lightness, or of stability or instability.

RhythmThe movement created by irregular recur-rence of, or the regular alteration of similar features in a composition.

StyleThe distinctive of characteristic manner of a conception, construction, execution or pre-sentation in a media.

SymbolThe abstract representation of a known object or phenomenon. Usually simplifies, hard–edged shapes.

UnityThe oneness, singleness or the harmony of all parts of a composition.

ValueThe relative lightness or darkness of a color, or the tonal quality of a composition.

Visual Elements

A visual line is drawn to represent a con-ceptual line, such as the edge of a object, or the tangency of two planes. (Lines do not exist in nature). The drawn line, or plane, has length and breadth. Its color, shape, size and texture are determined by the media used and the manner of execution.

ShapeThe visual make up characteristic of a par-ticular item kind of item. Spatial form.

SizeMeasurable; relative to the size of the picture plane.

ColorShape is distinguished from its surround-ings (or ground) by color and tonal changes; “color” includes spectral hues, black, white, and neutral grays.

TextureThe visual (or tactile) surface characteristics and appearance of something.

Contrast of Visual Elements

Contrast of ShapeGeometric vs. organicAngular vs. curvilinearPlanar vs. linearSimple vs. complexSymmetrical vs. asymmetricalMechanical vs. calligraphicAbstract vs. representationalClear vs. distorted

Contrast of SizeLarge vs. small

Contrast of colorLight vs. darkWarm vs. coolBright vs. dull

Contrast of TextureFine vs. courseSmooth vs. roughEven vs. unevenMatte vs. gloss

Contrast of DirectionHorizontal vs. Vertical vs. Diagonal

Contrast of PositionTop vs. bottomHigh vs. lowLeft vs. rightCenter vs. off–center

Contrast of SpaceOccupied vs. emptyPositive vs. negativeAdvance vs. recedeNear vs. farTwo–Dimensional vs. Three–Dimensional

Contrast of GravityStable vs. unstableLight vs. heavy

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Introduction to VCD2Art 13001

Glossary

introduction to vcd 2 problem 1 vcd 13001 point, line and ...personal.kent.edu/~jinderhe/pdf...

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