Form & Composition Documentation
Rhythmic + Erratic
After selecting two arrangements from the set of iterations, I tried to combine them to create a rhythmic “indian sari” pattern, I have always found them to be extremely intricate and delicately repetitive. I started to develop a simple module that combined the qualities of the first two options and further played with their scale adding more layers of patterns. Some were explicit whereas some were implicit, they successfully seemed to play off of each other in the composition as a whole. The pop of delicate millennial pink was used to create a diagonal rhythm to deviate the eye from the existing horizontal and vertical rhythmic and create the illusion of a diagonal one.
For the erratic composition, I had the idea of natural disasters such as hurricanes and a room full of broken mirrors in mind. I used a similar approach for developing the series of erratic compositions where the squares were implicitly radial but distorted and I went onto repeat the process until I felt like I had enough layers to convey the visual idea of disorder. I used the color to highlight the randomness of the squares, deliberately picking the ones that were dissimilar in orientation and size for the viewer to pick up on the idea of disruption and chaos immediately.
Fluid + Rigid
I actually struggled to produce compositions for “fluid” when I began the process, using a rigid object to produce a fluid composition was challenging. The first move I made was more about trying to generate a composition that looked like it was flowing, but its deliberate and forced arrangement was not conveying the idea of fluidity. I started to really crack down certain visual aspects of fluid form like particle spacing and directional flow. Then I began to arrange the squares in a manner that looked like they were being pulled by multiple forces because the nature of any fluid substance is dependent on its force and the surface its traversing through, but since I was working on a blank canvas, I tried to achieve a sense of balance by adding more depth and really utilizing the white space to do the same.
My concept of rigidity is largely shaped by movement, architecturally speaking, I always felt like city grids preferred for urban infrastructure are rigid since they tend to control and restrict pedestrian paths. In my head, this arrangement was largely worked through plan view where the squares were buildings and the white grid formed as a result was the streetscape. I started to shuffle them to achieve a sense of tightness and suffocation by using more of the dark elements than the white squares. People often associate white with open space so I tried to make the black look like it was occupying and eating space movement for movement or motion.
Reversible Figure Ground
For the reversible figure ground I went onto produce arrangements that had equal amounts of black and white space, some had the whte as the stronger element whereas a few had the black. I had a difficult time deciphering which component should stand out and how obvious it should be. I steered away from making arrangements that had one be stronger than the other because its difficult to unsee a dominating element that is visually strong. This happened when there were fewer squares which is why I was more inclined to use a greater number of squares to blur the shapes and color that defines the piece. I worked towards making the white and black equally prominent but after the final presentation and looking at other work, I realized that some arrangements were incredibly powerful with just a few distinct parts. I also regret not working on a specific concept and solely focusing on generating compositions based on color proportions.