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Observing Point, Line and Plane Design Problem 1 1. Explore

This document contains summaries of three design problems related to concepts of point, line, plane, scale, symmetry, and asymmetry in graphic design: 1. The first problem asks students to explore examples of point, line and plane in their environment and discuss what they see in their examples. 2. The second problem tasks students with using points and lines to construct a word related to emotions in an expressive way, either physically or digitally. 3. The third problem involves manipulating the scale and placement of opposing words to express their meanings, using contrasts in scale to emphasize conflict between the words. Students are asked to consider the full space of the 6x6 inch square in their compositions.

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521 views

Observing Point, Line and Plane Design Problem 1 1. Explore

This document contains summaries of three design problems related to concepts of point, line, plane, scale, symmetry, and asymmetry in graphic design: 1. The first problem asks students to explore examples of point, line and plane in their environment and discuss what they see in their examples. 2. The second problem tasks students with using points and lines to construct a word related to emotions in an expressive way, either physically or digitally. 3. The third problem involves manipulating the scale and placement of opposing words to express their meanings, using contrasts in scale to emphasize conflict between the words. Students are asked to consider the full space of the 6x6 inch square in their compositions.

Uploaded by

api-17539382
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Observing Point, Line and Plane

Design Problem 1

1. Explore the environment with a camera, looking for surprising and intriguing visual
examples of point, line and plane.

2. Choose your best examples, and crop them to a square.

3. Be prepared to discuss what you see. Points and lines can be positive or negative,
large or small, active or static, single or in groups.
Point and Line: Physical and Digital
Design Problem 2

1. Create list of words that have no obvious visual reference, such as names for
emotions (fear, anxiety, hope, tension).

2. Choose a word. Use points and lines to construct the word in an emphatic,
expressive way. Use physical, digital, or gestural processes. If your process involves
three-dimensional construction, photograph it to produce a two-dimensional image.

Marian Bantjes, faculty


Scale is Relative A graphic element can appear larger or smaller depending on the
size, placement, and colour of the elements around it. When elements are all the
same size, the design feels flat. Contrast in size can create a sense of tension as well
as a feeling of depth and movement. Small shapes tend to recede; large ones move
forward.

Scale, Depth, and Motion

Design Problem 1

1. Create a list of words that have opposite meanings, such as inside/outside, come/go, empty/full, and
more/less.

2. Choose a pair of words from the list. Using the typeface Futura Bold, manipulate the scale and
placement of the words in order to express their meaning. How does the meaning of one word depend on
that of its opposite? Employ contrasts in scale to emphasize the conflict between the words. Compose
your work in a 6-x-6-inch square. Consider the full space of the square in your composition.

3. Discuss work and make refinements based on feedback. Do no distort the text in any way, alter only
the size, placement and orientation.
Symmetry and Asymmetry
Design Problem 1

1. Working in Photoshop with 6 x 6 inch canvas, arrange three of four geometric


elements (circles, squares, rectangles, triangles, etc) in a symmetrical way. Start with
variations in which all the elements are the same size, then create symmetrical
designs with elements of different size. Experiment with scale and cropping.

2. Create asymmetrical designs using forms of different sizes. Experiment until you
find visual balance in each composition. For example, use several small elements to
offset one larger one.

3. Many variations are possible. Introduce contrasts of color or value. Create a simple
series of three designs which show a gradual change; make a stable design become
active, or bring order to a seemingly random arrangement.

Jennifer Cole Phillips, faculty

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