Design 101 - course book

DESIGN 101 COURSE BOOK

DESIGN 101

FOUNDATION YEAR 2011

SHEERAZ WANIA

Thomas Vasquez

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Design is like life: It is an ongoing process of development & discovery

A powerful metaphor has informed post-war education in design: the concept of visual language. This abstract language of line, shape & colour has been theorized as a system of visual communication analogous to but separate from verbal language, distinct code grounded not in cultural convention but in universal faculties of perception.

(Ellen Lupton on the foundation programme at the Bauhaus)

PURPOSE: This course is the first in the programme of courses leading to a BFA in Design, Fine art and Architecture, tailored to equip the student with the basic visual concepts and principles needed to proceed in any of the above fields.

COURSE DESCRIPTION: This is an introductory course that involves a studio inquiry into the nature of basic design principles and visual problem solving, exposing the student to a unified design language that is equally applicable to studies in art, design and architecture.

Lectures, presentation, readings, demonstrations, group exercises, class discussions and one-to-one consultation, to facilitate studio-based assignments are used.

Understanding and use of basic design vocabulary will be stressed upon in all classes.

PROJECTS

semester 1

POINT LINE PLANE

1

DAY 1: GROUP ASSIGNMENT: PLP IMPLIED IN THE ENVIRONMENT Visual examples of PLP can be found in the man made and natural environment.

Go around with your digital camera or your phone camera for the next two days and get some examples of the same. Keep your eyes and mind open.

Click the obvious but also look beyond. Have fun.

Present your best examples, 12 for each group, in a 3”x3” square on day three at the beginning of class.

Divide yourself into three groups.

GROUP 1 – POINT GROUP 2 - LINE GROUP 3 – PLANE

DAY 1 & 2 PRACTISE EXERCISES: 1. Point creating shape: Use points to visually describe the contours of any shape. This is achieved through a phenomenon called ‘closure’ (Refer to handbook pg____).

2. Point creating movement: Arrange points within your given space to create clusters or groups, lines and planes. The quantity, size and configuration of the dots and spaces will create direction, movement, and gravity in a two-dimensional format.

3. Point creating Tone/depth: Select a photograph from a magazine.

Lay tracing paper over your chosen image and outline the different light and dark tonal areas. Create a tonal scale from 1-5, 1 being the lightest or white and 5 being the darkest or black. Use three different markers for the 2,3,4 tonal values. Make a value scale to help.

4. Using line to describe a shape: Use a simple continuous line or contour line to describe a complex figure of form, selected from any magazine.

Do a few comps to get the best composition out.

DAY 3 MAIN EXERCISE: USING PLP TO CREATE TONE Select a simple symmetrical object from your magazine and get it photocopied upto A3 size. You might have to experiment with a few images to get the best one in terms of tonal values, out.

Lay tracing sheet on your photocopy and outline the different light and dark tones, dividing them carefully into different tonal areas.

Now divide the picture into three equal sections vertically, each section to be rendered using Points, lines & planes. The transition between sections should be smooth.

TRANSFORMING SHAPES

2

TRANSFORMIONG SHAPES (a continuation of PLP) The ability to transform shapes is an useful and creative skill.

Shapes may be transformed through an association of one shape to another, or through an additive and subtractive process (see examples).

To understand the visualizing process, observe & analyze the structural and physical attributes of the forms.

DAY 1: PRACTICE EXERCISES: Shape Generation Using the Transformation Process: The generation of figures and forms using points and lines is a starting point for visually exploring the transformation process.

1. POINT – SHAPE: Use points to describe visually the transformation process.

A figure/shape can begin with a single point or line; a recognizable form begins to emerge through the addition of more points or lines.

2.. LINE - SHAPE: By using grid, explore the transformation of a line into a shape/figure in 7 steps through sketching within your given space.

DAY 2 & 3 MAIN EXERCISES: 1.GEOMETRIC SHAPE TO SHAPE TRANSFORMATION On A3 offset sheet draw 12 squares of 4”x4”. Make an orthogonal* ½” grid in each square.

Select a simple geometric shape (can be circle, square, oval, rectangle, and triangle). Develop a shape transformation showing the reasonable 12 steps from the original shape to the final shape.

2.REPRESENTATIONAL SHAPE TO SHAPE TRANSFORMATION: On A3 offset sheet draw 10 squares of 4”x4”. Make a ½” grid in each Square.

Begin the shape transformation with representational shape, developing the logical 10 steps to the final representational shape. *orthogonal grids, with two sets of lines perpendicular to each other (such as the square grid)

SIZE, SCALE, DIMENSION & PROPORTION

3

SIZE: Size is a relative term; its determination requires the comparison of figures and forms to each other. Size helps the viewer to determine scale depth and distance or add meaning to visual forms or compositions.

SCALE: Scale refers to the size & dimension of figures and forms relative to a specific unit of measure. Scale can be determined through actual measurement r through visual estimates based on comparison.

DAY 1 & 2: PRACTICE EXERCISES: Using size and its relationship to portray 1. Contrast - make the paper clip the size of the bottle and vice versa 2. Depth – using the clip in the foreground and the bottle in the background 3. Distance – your call, using two or three objects 4. Visual pun – Your call entirely :) Take the given object (paper clip, paper cup and the large water bottle) Create an orthogonal grid on an A4 sheet 18cm x25 cm.

Draw the 3 given object planes in the proportion that you see.

Now with the same elements work on the above four relationships.

The #4 will be your final portfolio piece. Also give an appropriate name to image.

All 4 will be presented on an A4 sheet, labeled and mounted separately.

DAY 3 – PROPORTION PROPORTION: Proportion is a comparison between the size and quantity of parts as they relate to a total physical form.

PRACTICE EXERCISE Altering he proportions of an object.

To understand the proportional system and how they affect an object visually, it is necessary to understand the application of different systems.

As a study example, prepare a simple and accurate line drawing of any hand held object like pencil, pen, hammer, screwdriver etc. Construct a front view of the object. Ink the drawing using technical pens. This drawing will be done in a square 190cm x 10cm, with a 1cm orthogonal grid.

Next extend your grid along the horizontal axis where each section now becomes 1cm x 2cm. Reproduce your drawing with the change in dimensions.

Do the same with a vertical axis extended grid.

Present all three on an A4 scholar sheet, mounted with a 1� mount.

TEXTURE

4

DAY 1: MAIN EXERCISE: CREATING TACTILE/ACTUAL TEXTURES Make 6 squares of 5x5 inches on your A3 scholar sheet. By using your giving materials create textures in each square.

Investigate and explore the changing appearance of various materials, manipulation of materials and surfaces.

Explore techniques such as: tearing, cutting, layering, folding, splitting, scoring, crushing etc. The key is to create shadows and levels so that your textures achieve a certain amount of depth.

Present all on A2 grey box-board.

DAY 2: HOME WORK Go around with your digital camera or your phone camera and get some examples of textures.

Present your best 12 examples (6 manmade & 6 natural), in a 4x4 square on A2, grey side of box-board sheet.

and natural textures. Present all your rubbings on A2 offset sheets.

DAY 3 MAIN EXERCISE: USING DIFFERENT TECHNIQUES TO CREATE VISUAL TEXTURES Make 12 squares of 4x4 inches on your A3 scholar sheet.

Discover Visual Textures by using different techniques such as imprinting, embossing etc.

Present all your 12 squares on A2 grey box-board sheet.

COLOUR

5

DAY 1& 2: COLOUR WHEEL (construction and application of colors) Construct a color wheel on A2 scholar sheet.

Make a circle of diameter 23cm or 9inches. Inside that large circle make a smaller circle with a diameter 13cm or 5.1inches. Divide the ring into twelve equal parts.

Inside the smaller circle make an equilateral triangle in such a way that the tips of the triangle touch every fourth part of the ring. Join two points of the triangle to the middle portion of the ring.

Paint the primary, secondary and tertiary colors on constructed color wheel.

DAY 2: GRAY SCALE AND VALUE SCALES (Tints, Shades and Tones) 1. On A4 scholar sheet make a rectangle of 9inches into 2inches. Divide this rectangle into 9 parts of 1inch each.

Paint 1st part of the rectangle Black and 9th part White. Make a gray scale by adding white into black and black into white. So that the 5th or the center part of the strip should have visually even gray.

2. On A3 scholar sheet make 2 rectangles of 13inches into 2inches each.

Divide these rectangles into 13parts of 1inch each.

On first and second strip, paint 1st part of the rectangle Black, 13th part White and 7th part primary blue in first strip and yellow in second strip. Make tints by adding white into blue and shades by adding black into blue.

Make 3rd rectangle of 9inches into 2inches. Divide this rectangle into 9parts of 1inch each. Paint 1st part of the rectangle Gray and 9th part Red. Make a tonal scale by adding gray into red and red into gray. So that the 5th or the center part of the strip should have visually even tone.

Make sure all steps should be even and there will be no sudden jumps.

DAY 3: VALUE TRANSLATION On A4 scholar sheet make 2 squares of 3.75 inches X 3.75inches.

Divide each square into 5 parts of 0.75 inch each.

In First Square, put black on 1st part and white on 5th part. Put gray values in remaining 3 parts (light gray, medium gray and dark gray).

Pick one color scheme (complimentary or triadic) and translate the all gray values of 1st square into color values in 2nd square.

HOME WORK: COLOR LUMINOSITY On two A4 scholar sheet make 4 squares of 3X3 inches on each sheet. Inside each square make smaller squares of 1X1 inch.

Make 1st and 3rd outer squares black and 2nd and 4th outer squares white on both sheets.

On first sheet paint 1st and 2nd inner squares yellow and 3rd and 4th inner squares blue.

On second sheet paint 1st and 2nd inner squares green and 3rd and 4th inner squares violet.

VISUAL PERCEPTION

6

PERCIEVING SHAPES & FORMS: Perception theorists and psychologists have been studying how human beings perceive 2 & 3 D shapes and forms and objects. There are lots of theories and concepts, laws & principles in regards to visual perception as well as figure & form qualities.

The visual form recognition process varies among different people and this could be due to their imbedded experiences in the past, the cultural differences, education, environment etc.

See notes on GESTALT THEORY, LAW OF PRAGNANZ & LAW OF CLOSURE DAY 1: CREATING TANGRAMS COMBINING SHAPES TO CREATE FIGURES Take 8 black sheets of paper 6X6�. Cut the paper the way it is showed below.

Now explore various ways of combining all the above 7 shapes to make a figure.

Observe how the change of position & orientation affects how the figure is perceived. Select the best 8 solutions and present them on A4 sheets.

FROM HOME: TYPES OF PATTERN Colour the given repeat pattern, in the below given three ways, to explore figure ground relationships through ground reversal and additive subtractive steps. i) Primary colours,

ii) A tetrad colour scheme, iii) A split complimentary colour scheme.DAY 2: SIZE & ITS EFFECT ON FIGURE GROUND RELATIONS Select any two dimensional figure, such as a number or alphabet. Through sketching study how much of the figure can be enlarged within the given area on a format before it is no longer seen as a recognisable shape.

Start with putting your number or alphabet in the centre of a 4X4” square.

Make several studies to explore its recognisability.

FROM HOME: With the letter A, E, F, H, K, M, N, or W, explore the law of closure iin 12-15 (you may do more) steps. Start with the figure in the centre of a 4X4” square and take away from it gradually one line at a time DAY 3: OVERLAPPING FIGURES USING FIGURE/GROUND REVERSAL With any three numbers or letters, through sketching create several compositions in which negative/positive reversals and overlapping reinforce the contours of the shapes used. Try and fit the shapes together as in a puzzle. Then alternate the white and black areas to define the figure. Make several pencil compositions before you determine the best solution and execute it on a 8X8” square.

Use black & white only.

PRINCIPLES OF ORGANIZATION

7

DAY 1: EXPLORING BALANCE UNDERSTANDING BALANCE THROUGH GROUPING & CONTRASTING STABLE AND UNSTABLE FIGURES. This exercise is structured to help in the understanding of stability and instability by utilizing one or more geometric elements in a composition.

Select three geometric elements and cut them out of black or coloured card.

Experiment with the arrangement of the elements creating stable and unstable compositions. Sketch various compositions in your sketchbook. Select the three most interesting ones.

You may Also want to experiment to see how the visual emphasis changes when colour is applied.

Make your three final comps on 8” X 8” each.

FROM HOME: VISUAL STATEMENTS IN THE ENVIRONMENT Look around you and bring back to class 2-3 interesting examples of each of the following visual statements or messages in: 1.

SIGNS 2.

ADVERTISING 3.

ART FORMS 4.

PRODUCTS 5.

ARCHITECTURE Your images should not come out of magazines and books (except art forms maybe). The rest should be photographed or actuals. They should be presented neatly (upto you how you do it. You will be graded on presentation).

They should be put up in class before we walk in at 11.30 (I mean IT!)

STABLE / UNSTABLE

BEGINNING /ENDING

BEGINNING /ENDING

HEAVEN / HELL

GOOD / NAUGHTY

SHORT / TALL

MARRIED / SINGLE

COMPLEX / SIMPLE

HAPPY / UNHAPPY

GOOD / NAUGHTY

INCREASING /DECREASING

HEAVEN / HELL

SINGLE /MARRIED

FIGURE GROUND

FIGURE GROUND

SIMILARITY / CONTINUATION

SIMILARITY / FIGURE GROUND

CLOSURE / CONTINUATION

PROXIMITY

Take any simple everyday object and create a neat black & white line drawing of the same.

Now use the above object to visually portray the following contrasting ideas 1. falling – rising 2. married – single 3. heaven – hell 4. simple – complex 5. beginning – ending 6. short – tall 7. happy – unhappy 8. good – naughty 9. increasing – decreasing 10. smooth - rough Finalize any 5 and execute them within 6”x6” squares on a canson sheet.

Use poster colours ony.

DAY 3: EXPLORING GESTALT PRINCIPLES USING GESTALT PERCEPTUAL ORGANIZATIONAL PRINCIPLES IN COMPOSITIONS Begin by identifying and collecting a set of shapes, or objects, in a related category – e.g. shoes, bags, hats, leaves, cups etc. After selecting the shapes or objects, draw them in several different positions and orientations.

The composition that results from this drawing should express an understanding of the types of balance, the use of organizational principles and a good figure ground relationship.

Next, work with the drawings, creating a ‘family’ of compositions.

Use different shapes and explore compositional balance applying the Gestalt principles of organization: SIMILARITY CONTINUATION CLOSURE PROXIMITY FIGURE GROUND Execute 8 compositions in 6”x6” squares.

Take any simple everyday object and create a neat black & white line drawing of the same.

Now use the above object to visually portray the following contrasting ideas 1. falling – rising 2. married – single 3. heaven – hell 4. simple – complex 5. beginning – ending 6. short – tall 7. happy – unhappy 8. good – naughty 9. increasing – decreasing 10. smooth - rough Finalize any 5 and execute them within 6”x6” squares on a canson sheet.

Use poster colours ony.

DAY 3: EXPLORING GESTALT PRINCIPLES USING GESTALT PERCEPTUAL ORGANIZATIONAL PRINCIPLES IN COMPOSITIONS Begin by identifying and collecting a set of shapes, or objects, in a related category – e.g. shoes, bags, hats, leaves, cups etc. After selecting the shapes or objects, draw them in several different positions and orientations.

The composition that results from this drawing should express an understanding of the types of balance, the use of organizational principles and a good figure ground relationship.

Next, work with the drawings, creating a ‘family’ of compositions.

Use different shapes and explore compositional balance applying the Gestalt principles of organization: SIMILARITY CONTINUATION CLOSURE PROXIMITY FIGURE GROUND Execute 8 compositions in 6”x6” squares.

INTRODUCTION TO PATTERN

8

DAY 1: Creating Pattern UNDERSTANDING THE FORMAL APPROACH TO CREATING PATTERNS Begin by developing a compositional element by constructing a 3cm X 3cm square grid with nine units, three spaces wide by three spaces deep.

Using black POSTER PAINT fill in some areas and leave the others empty.

The configuration created using this process is called the compositional figure.

For the next one, subdivide the nine grid areas on the diagonal, and fill in some of the triangular areas.

Once you have two ‘compositional figures’ cut them out in acrylic sheets.

Now repeat this module in several ways to create a pattern.

Execute your selected pattern on a A3 sheet within a 24X42 cm.

DAY 2 & 3: Executing the Patterns Now colour the two patterns with POSTER PAINT ONLY using one of the following colour schemes in each pattern.

1.

Triad colour scheme 2.

3.

Analogous colours Warm or cool colours

DO ALL THE PAINTING IN CLASS. It may be completed from home.

REFERENCE: C. Wallschlaeger & C. B. Snyder, Basic Visual and Concept Principles (1992) STUDENTS WORK: Foundation Year (IVS) - Class of 2011

associate professor sheerazwania sheerazwania@me.com