PROJECT 06: Figure/Ground Relationships (Space is Shape)

Project Due Date: Critique, Beginning of class

Section 1/Samimy: Wednesday, Oct. 2nd
Section 2/Samimy: Thursday, Oct. 3rd

Project Description

You should have reviewed and understood the reference material on figure/ground relationships provided below.
Now, create a series of 3 abstract (non-representational) compositions using different cut out shapes in various sizes as necessary. Use the three types of figure/ground relationship to create a unique and effective composition. Use contrasting (variation in size) shapes against each other, layer shapes as you need, merge them together or place them stratigically keeping in mind the aesthetics of your composition. Crop, combine, repeat, mirror, rotate, enlarge, and/or reduce the shapes. Think about the following concepts listed below and the meaning of each relationship. Think creatively, aesthetically and be innovative:

• Figure/ground relationship- stable/reversible/ambiguous
• Balance- symmetrical/asymmetrica/all-over, equalized tension
• Composition- dynamic/static
• Vertical/diagonal/horizontal
• Hierarchy (emphasis)
• Movement/directionality

Process

Homework- 
Start doing thumbnails with pencil or black construction paper in your sketchbook, at least 3 different ideas for each composition (total 9 thumbnails on sketchbook.) If you haven't found a strong solution/idea… more thumbnail sketches will be necessary! 

Class time-
At start of class, consult with your teacher and select the best pieces. Choose 3 final designs that distribute positive and negative space into fluid, balanced compositions following the three required relationships. Note: You can explore enlarging the whole composition or some parts, cropping, adding or deleting shapes.

Re-create the three selected compositions with black/colored, and white construction paper. Use the same type of paper for your 3 compositions, so you do not have any change in white/black/colored shapes.

You will be graded on completion of thumbnail ideas, well resolved compositions, creativity, aesthetics, craftsmanship, neatness, class participation during critique. Deadlines must respected.

Materials

• black construction paper or colored paper of your choice
• x-acto knife/sharp scissors
• rubber cement or elmers type glue or glue stick
• (3) 9" x 12" paper 

Students Samples

  
  

REFERENCE - Figure/Ground Relationships

Figure/Ground Relationship

The figure/Ground relationship is the most basic of all relationships in design. It refers to the relationship between positive and negative shapes, and is used as an aid in 2-D composition. 

In art/design, one way we define space is by placing objects in it. This creates a relationship (object-in-space). Something and nothing. Placing an object IN space, defines that space, and CREATES a Figure/Ground Relationship. The object becomes the figure, and the space becomes the ground. 

Here is another way to think about it: The part of a composition that we pay attention to is called figure.  Everything that is not figure is ground. As attention shifts an object can go from figure to ground and back. Positive/Negative shape are analogous terms for Figure/Ground. 

Three Main Types of Figure/Ground Relationships

The figure and ground are inseparable. The figure always defines the ground, and the ground defines the figure. If you draw the figure in a composition, you are drawing the ground at the same time.

Stable-  Unchanging. You know what the figure is, and what the ground is. The focus of our attention does not change. 

Reversible- The positive and negative space/elements attract our attention equally. Our attention is drawn back and forth between the two. 

Ambiguous- The positive and negative space/elements challenge the viewer to find a focal point. What is the figure? What is the ground? Figure is entangled with ground without dominance. Ambiguous f/g relationships are usually abstract. See example below.

Rubin vase—an ambiguous figure/ground illusion. When you see the faces as figure, the vase is the ground. When you see the vase as figure, the faces are the ground.
The viewer shifts from one figure to the other but do not to see both as figure at the same time.

Compositional element within F/G relationships

Active- group elements off-center (asymmetrical) to create visual movement. 

Neutral- centered compositions are stable, not dynamic. Do not center! 

Bleeding- dynamic (it bleeds of the page, and can’t be contained)

Cropping- creates abstraction

Balance in F/G relationship 

In Stable relationship- balance (size/shape) = unified design.

In Reversible relationship-  balance (size/shape) = tension. which is which?

In Ambiguous relationship- balance (size/shape) = action. all space is active. 

Tips on working with figure/ground

• Balancing figure and ground make the composition more clear.
• Using unusual figure/ground relationships can add interest.
• Spaces with convex (a), symmetric (b), smaller in area (c) or enclosed (d) shapes are “seen” as figure.
• An expressive use of white space requires an asymmetrical design. Centering kills the white space (dividing it into unusable emptiness). Asymmetrical design creates a NEED for interestingly shaped white space. 
• A deliberate use of white space creates + and - space that are equally important.

Sample Figure/Ground Relationship Studies

                   

PROJECT 03: TWO PART Assignment - 10 GRAYSCALE VALUE STUDIES / COMPOSITION Applying gray value scales

Due Dates 

Section 1/Samimy, Due Date: MONDAY, Sept. 16
Section 2/Samimy: Due Date: TUESDAY Sept.17

MUST WORK ON VALUE SCALES AND 4-6 THUMBNAIL STUDIES OF ORIGINAL DESIGN OVER THE CLOSING OF SCHOOL DUE TO IMPENDING WEATHER CONDITIONS.

Project Description

End goal of Project:  You will Create 2 non-representational (abstract) compositions that show a wide rage of gray values using only pencil. You cannot use gradients within each shape. They must be continuous values of gray. BLOCK OUT YOUR SHAPES WITH SOLID GRAY VALUES. You may also apply textural patterns and stippling that will also show value and contrast. (See reference below). You can inspire your designs from different elements of nature, or any other inspirational imagery. Must be interpretive or original designs.

Apply more pressure to obtain darker grays and less pressure for lighter gray values. pay attention to detail and craft. Remember no smudging to get the gray.

Materials Needed

• Graphite pencils - Range from hard leads - soft leads  (2H, HB, 2B, 4B,6B,)

• 9"x12" size paper (divide in 2 equal sections measuring 6"x9")

Demonstration links for developing 10 value graysale black-white:

https://www.youtube.com/watch?v=0QD0CUfL_pQ

https://www.youtube.com/watch?v=IzzRZE0LTPk

Process/Schedule

Day one (In-Class)

A. Presentation 

Short lecture going over the concept of value, shading techniques, and overview of compositional strategies. 

B. Value Scales

Practice your value scales in your sketchbooks. Each value scale should consist of ten levels ranging from black to white. Start by making a grid, 1/4" - 1/2" square, then shade each square individually. Be sure to keep the value consistent within each square, and keep the change in value consistent from square to square. Each square must show distinctive values. Fill at least one sketchbook page of scales studies.

10 Step Value Scale

C. Compositional  Sketches 

Once you adapt to using your pencil and it's various pressures, start doing approximately 3" x 5" thumbnails in your sketchbook- at least 4-6 thumbnail sketches developing ideas for the 2 compositions (total 4-6 thumbnails in sketchbook). You will be graded on this. AREAS SHOULD WORK IN SOME WHITE SPACE AND TEXTURAL MARKINGS. Sketches and design ideas will be due at the beginning of the next class.

D. Homework

Finish a full page of value scales STUDIES AND  compositional sketches to be turned in at the beginning of class for review. Along with the full page of value scales, your DETAILED thumbnails will be graded for 50% of your total grade. DUE AT BEGINNING OF CLASS

Final Compositions (DUE AT BEGINNING OF CLASS) Consult with your teacher via text or "remind" and also speak with your fellow students, to select the best two compositions for your final designs. These will be completed on the measured6"x9" bristol board divided in half on page. Remember to try and communicate two distinct ideas (this can be an emotion, nature, imagined design or anything else you can think of)You must use at least 5-7 shades of grays incorporated in your compositions.

Rubric

Assessment is based on your creativity, composition, craftsmanship, time-management, and the completion of all steps of the process (4-6 preliminary sketches, 5 value scales, 2 finished compositions). Your final pieces must contain 10 steps in value from black to white. 

Students Samples
 

Project 02: Line - Organic / Geometric Compositions

Project Description

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) dynamic line compositions that suggest texture, movement, using a variety of line weights. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Monday, September, 9th. 

Tues/Thurs, beginning of  class:   Tuesday, September 10th. 

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.

• review ideas with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

The two compositions should be well thought out. Think about the way your eye moves across the drawing. Think of heirarchy, Emphasis, focal areas, unity, cohesive design, flow. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH…. DOIN UR MOM DOIN DOIN UR MOM

   

Students samples

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing