CalArts: Funds. of Graphic Design-W4: 4.4 Multiple Contrasts
Video created by California Institute of the Arts for the course "Fundamentals of Graphic Design". This week we are…www.coursera.org
So this is where things start to get a little bit more interesting and a little bit more fun, I think.
We’ve looked at single visual contrasts and we’ve tried to look at them with both single and multiple forms,
but now, we’re going to actually look at multiple visual contrasts using multiple forms.
This is a more realistic representation of how you might compose and put things on a page.
So instead of trying to isolate these visual contrasts to understand them, we’re really gonna try and mix and match them a little bit more.
So let’s start out with two very simple ones.
Let’s start with mixing scale and form together.
So here you can see we’ve got two different forms, two different shapes, two different objects.
They’ve also got two different scales working as well.
So that’s quite simple, but immediately, a little bit more visually interesting.
Now we can see what happens if we add a little bit of texture to these same objects.
So we have scale, form, and texture all working together.
So you can see now it starts to get even more interesting.
So there’s a little bit of dimensionality, there’s an extra contrast happening there with the texture.
And sometimes you can think about these contrasts as being visual interest as well,
so that the more we add to a certain extent, ขอบเขต,ขนาด,การประเมินค่า
the more visually interesting the composition is going to be.
So, if we keep going now and we try and add some direction to our other elements,
you can see we’ve added a third element here, the triangle.
And now, we’ve clearly, even though we’ve got differences in scale and differences in form, and differences in texture are unifying in this very strong diagonal relationship.
So, let’s try and combine to other aspects of contrast and composition.
Let’s try weight and form,
so here we have three different forms three different objects, shapes, and they have three different tonal values to them.
So it’s still fairly flat, fairly conventional.
Let’s see what happens if we try and add a little bit of space as one of our compositional considerations.
So here now you can see they’ve not sitting on a consistent line anymore.
And they’re actually interacting with each other and interacting with the background in a little bit more of an interesting way.
So, the angle of the triangle could be pointing at the circle.
The square here is getting a little bit of tension, visual tension, were it’s close to the edge.
And you really notice the difference between the total value of the three of them.
And because of the composition your eye tends to travel between the three of them as well.
So now let’s see what happens if we add a little bit of scale to this as well, to try and reduce the flatness that was there.
So now you can see the composition suddenly feels much more interesting.
There’s a lot more depth to it.
You’re not quite sure whether that depth perception is the push and pull of scale or of tonality.
And whether this becomes a little bit more pictorial or not.
The relationships between the shapes, as soon as you start to sit one shape on top of another, it has a certain realism or a certain gravity to it.
So we could try and keep going and add one more aspect.
So in this case, let’s try adding direction and see what happens with that.
So now if we put those shapes in a new composition that looks a little bit more like direction, you can see we’re back to a less pictorial representation.
But again, we’ve got a little bit more of a diagonal, directional relationship between the three shapes so the square remains very static and heavy.
Partly due to its shape, partly due to its weight, and also its position in the frame.
The triangle feels a little more floating and obviously has a directional aspect to it that points at the square.
And then this circle which is concentric ที่มีศูนย์กลาง shaped that can kind of suck you in visually.
That feels much more like a focal point or a starting point for the composition,
so you might look at this and then travel out to the square.
So let’s see what happens now if we keep going with this and we try and work with all of the different aspects of composition that we have.
What you can see is that we’ve got a lot going on.
We’ve got a lot of direction.
We’ve got some trapped white space.
We’ve got scale, texture, tonality.
There’s a lot of contrast happening there.
So this makes the composition quite active in a lot of the areas.
So you can see the activity here is in the texture,
and yet we’ve got a lot of diagonals here pointing at different things.
This line is very strong.
Then it’s leading you into a more calmed area of white space where this dot is held.
We’ve got a large dark area as a contrast to that.
So, you can see that with making all of the different aspects of composition work, that that can sometimes create a little bit of a cacophony เสียงดังที่ผสมปนเปกัน , a lot of visual noise.
So part of what you could think about is how to now reign in เข้าครอบครอง some of those aspects of composition.
And to actually control them and maybe decide that you want some of them to do a little bit less.
And decide which ones you really want to do more of the hard work.
So I might decide here that I think this black square and the textured circle are canceling each other out a little bit.
So I might decide I want a little bit more space, so I might reduce the scale of that black square, and increase the scale of the white triangle.
And you can see that has quite a different effect on how you read the composition.
Now you’ve got a lot more white space to look at in the lower half of the composition.
The white triangle is now a much more prevalent มีมากกว่า,แพร่หลาย part of the composition as well.
So, once you’ve got a lot of complexity, and you’ve got a lot of elements going on, sometimes just one small move can really make a difference.
And we could keep going further with this idea of trying to get a little bit more space, a little bit more contrast in the space if you like.
So now in this composition we’re taking some of those floating elements that are out in the white space, the circle and the square,
and actually grouping those together a little bit.
Layering them on top of each other so starting to get a little bit of depth that way.
And here you can see we’re creating some tension in the composition as well.
Between the circle here, that’s a very powerful, strong, contrasting element with the white triangle on top of it.
A lot of the direction is coming from both triangle shapes.
And we’re using this bar to kind of bounce back that directionality.
And the same thing is happening up here in the corner.
Our eyes might kind of trickle up here and this sort of 45 degree shape of the square is gonna bounce us back down.
Same over here. And bounce our eye back into the composition.
And sometimes you want that in a composition.
You want the viewer’s eye to keep moving.
So part of this is really about controlling hierarchy
and part of it is also controlling what the viewer looks at when.
And here’s one last variation just for fun where we take away a lot of the scale.
We take away a lot of the overlapping.
Then you can see that this feels like a much flatter, a much more graphic composition.
Even though it’s the same elements really, but the reduction in scale, the reduction in overlapping really makes this feel very, very different than the previous composition which feels almost like it could exist in the real world and it feels like it starts to have a little bit of depth and perspective.
Whereas, this feels very much like a flat world, a two-dimensional world.
But I still think there’s a lot happening in the composition here that could be seen as being really interesting.
You start to notice some other things.
For instance, the relationship between these two circles is now accentuated because they're on a similar central axis,
so your eye’s encouraged to jump over this white space.
You’re then also encouraged by this diagonal, and the diagonal line that these elements create to have a relationship between this grey circle and the other elements down here.
So your eye can kinda move through that composition.
And you can also see here is a point of tension.
Where these three points come together, and there’s some negative space forming shapes as well.
And all of these things, it takes a little while to get used to them, but as you’re actually making compositions of your own,
it really helps to talk about them and critique them on your own,
and try to really figure out how they’re working.
Figure out what direction your eyes looking in,
what areas of the composition are active,
what areas of the composition are passive or static.