Project Two Process Creation
In this project, we were exploring how the placement of objects (specifically, in this case, squares) in an enclosed space conveys ideas. This project permitted only the use of black squares on a white 6.5" by 6.5" space. Using only this, we were required to convey the meanings of certain words. The placement of the objects had to be unique such that an observer would not easily confuse a pair of compositions corresponding to one word pair with a pair of compositions corresponding to a different word pair amongst those listed. Lastly, we were tasked with creating a solo figure-ground composition that conveyed just as much meaning in the two perspectives with which it could be examined: white foreground on black background and black foreground on white background.
Initial Sketches (Breadth of Exploration):
Here are my breadth of exploration sketches.
In my first two sketches for rigid, I explored the idea of depicting squares locked in a cage. The first sketch depicts squares in concentric ‘cages’. The bars of a jail cell inspired me to create the snaking patterns of tiny squares in the second sketch. The third sketch also plays on this idea, but it uses a different, circular shape for the cage shape. The fifth sketch also tries to depict a single large square locked in a certain position due to the placement of the surrounding squares. The fourth sketch is different in that it does not depict a cage, but rather a set of squares locked to each other.
In the sketches for fluid, I tried to depict small squares flowing like a liquid. Sketches one and two depict this with the difference being that sketch one plays on the idea of squares changing size in their motion. The third sketch is similar to the third sketch except that I introduced a few foreground larger squares to contrast with the motion. In the fourth sketch, I explored how connectivity is closely related to fluidity.
In the sketches for clumsy, a central idea was how gravity illuminates the clumsiness of square placement. This is present in all the sketches, but each plays on this idea in a different way. The first one and third one are quite literal with squares falling off the edge. The second and fourth depict squares of various sizes stacked arbitrarily but still implying clumsiness in their pattern. The last one plays on the idea of clumsiness being carelessness in enforcing a pattern (hence one misaligned square).
In graceful sketches, I attempted to illustrate the harmonious nature of certain patterns. In the second, third, and fifth sketches, I explored similar concepts that were in fluidity except emphasizing more the harmonious nature of flow. However, the others are different in that they have pattern as a stronger driving force. For example in sketch 1 I showed squares lined head-to-toe to illustrate a graceful pattern. Sketch 4 is more literal in that it shows a geometric pattern by itself.
In the rhythmic sketches, I strove to show some motif being repeated.For example, in the first one, squares repeat periodically and are organized in groups. In the second one, I wanted to show the small circle pattern in the middle being replicated at a larger scale so it goes off the composition. The other sketches play on the idea of irregular patterns that still imply rhythm without explicit repetition of a motif.
In the erratic sketches, I used small squares to illustrate irregular signals or the effects of irregular signals. The fourth one depicts pixels on an LCD screen illuminated irregularly. The last one departs from the signals idea and is too close to clumsy.
Digital Iterations (Breadth)
In this rigid composition, I continued to try to depict squares being caged by the paths of small squares weaving around the composition. I carefully positioned the larger squares to be ‘stuck’ amongst the smaller squares.
In this rigid composition, I strove to do the same thing except imply that the squares were stuck in cages. Even though they weren’t in positions that were stuck, their being surrounded by cages implies that they are caged and therefore unable to move.
In these fluid compositions, I strove to combine some of the ideas that I had in my fluid sketches into one. I wanted to have a pattern so that fluid wouldn’t be conveyed too literally. However, I continued to explore the idea of transitioning between big to small squares and back in streams of squares to imply motion. Changing the size in this composition creates a sense of depth and 3-D fluid motion.
In the second fluid composition, I experimented with having more pattern (circle) and less literal fluid motion.
In the rhythmic compositions, I focused closely on depicting a periodically repeating motif. In one composition I chose squares with varied sizes but without any angular rotation. Although this composition was simple, I felt it still conveyed rhythm.
In another rhythm composition I tried to show the motif of five squares grouped in a circle (with one being blue) being repeated with continuation off the end of the composition.
Here is a more regular version where the pattern is exactly the same, just shifted and rotated and resized:
In my erratic compositions, I focused on two distinct ideas. In one composition, I tried to focus on depicting random pixels on an LCD screen better than I could on paper. I imagined that the disorder of the pixels conveyed erratic.
In the other one, I explored the idea of squares placed head-to-toe and made their angles with respect to each other irregular to convey erratic differently. I made one of the stacks go in the opposite direction to reduce the implication of gravity and move it away from clumsy.
In the figure ground, I wanted to create the foreground flip by transitioning between large black squares bordered with small white borders to large white squares bordered with black borders. I used small black squares instead to make the transition smoother.
I explored a simpler version of this also in the second figure ground.
Digital Iterations (Depth)
For the rigid piece, I kept debating whether I should keep the large squares angled and physically stuck in their positions or imply that they were stuck in cages. Also, the TA suggested that the one where they weren’t angled more strongly implied rigidity because it was less distracting. I used this advice to contain the snaking paths of small squares to just rectangles.
My hope was that by reducing the randomness of the motions of the small squares, it would more strongly depict cages. I wanted to depict multiple rectangles containing squares to imply rigidity.
To convey fluidity, I decided to develop my first composition with the sense of depth in it more. Although it was more literal, I felt that having four points converging to one point was enough of a pattern to make it more complex than a simple stream of squares. I worked to shrink the sizes of the center dsquares to increase the appearance of 3-dimensional depth in the composition, because it feels as if they are much farther away. This conveys motion which in turn conveys fluid.
I decided to add color to the rhythmic and erratic pieces. In the rhythmic piece, I experimented with color in two different ways. First, I tried to keep the colored square in each group to be on the right side except for the two shorter sequences at the bottom. This was more literal in the depiction of rhythm because it showed the repetition of an exact motif more clearly. In the second try, I alternated the colored square position to still convey the same general idea but not be as literal.
Because I added color to the rhythmic piece, I added it to my erratic piece, too. I made the piece more erratic by varying the density of squares across the composition (by eliminating some in select spots). This enforced the motif of irregularity beyond just having groups of squares be irregular. I placed the blue color in arbitrary spots to also enforce this motif.
The figure ground went through more evolution. I first constructed something similar to the cage I had in rigidity, except that this cage would form the border around the large white and black squares.
Feedback
The most important thing I learned based on the feedback provided to me during the project and also at the crit was that it is not necessary to make a composition complex to convey something. My figure ground, especially, was complex and took time to make. However, even though it balanced the foreground and background equally, I saw a figure ground which had a similar effect with far fewer squares. In the future, I will try to do more with less by thinking carefully before I add more material to a composition.
Final Piece
Besides the idea that I should try to convey ideas with less material first before adding material, I realized that also this is a design class more so that an abstract art class. Abstract art is different in that in art, originality is prized the most and the actual content is completely free-form. Often times, complex structures or creations that don’t immediately make sense are praised for their ingenuity, creativity, and originality. Design is slightly different. Although design is an art, design is fairly objective. In design, originality is still important, but easily conveying ideas is just as important. So, complex structures and creations may be artistic, but may not be the best for design. In design, the creator must effectively communicate something clearly to the observer with little confusion. I will try to incorporate that in the future.
