CalArts: Funds. of Graphic Design-W4: 4.3 Single Contrasts

So we’ve looked at single visual contrasts with single forms where possible, and now we’re going to look at single visual contrasts with multiple forms.

So we can see that pretty much with forms it doesn’t really change that much.

There’s still the idea of these being different but comparative shapes, different but comparative forms.

And if we look at weight

we could see now rather having just either end of the spectrum, we have a little bit more of a range.

So here we can see from white to gray to black in terms of tonality and visual weight.

But where this is perhaps a little more interesting is when we start to look again those compositional elements or aspects that deal much more with the object versus the background rather than comparing to each other.

So here, for instance with space

you can clearly see how this four black squares now really make the negative space the white cross that you can see.

They’ve really created that space, and there’s this really interesting tension in relationship

  • between the push and the pull,
  • foreground and background,
  • between the white and the black.

In a similar way, if we look at direction,

you can see that by now we have more shapes to work with, 
we can really get them to describe the aspect of composition that we’re trying to get at.

So here for instance these five black squares clearly form a very strong diagonal line that talks about direction within the frame.

So when we look at scale with more elements.

You can see that what’s happening is, we’ve got a much greater range now.

So, we’re starting to build more of a rhythm, and more of a pattern and repetition.

And so this allows us to actually see the range of the scale, and see how the scale is really working, a little bit more easily. Actually, it makes it more clearer to see.

And finally if we look at texture with more than one element or two elements at a time,

we can start to have a greater comparison, a greater variety of different kinds of texture that might be possible.

Now looking at all of these different aspects of composition individually, isn’t really gonna help us be that much better at composition. 
Because when you’re composing, all of those aspects of composition are happening at the same time.

So what we’re going to try and do next is to start to combine some of these aspects of composition and see how they work together.