REFERENCE: Figure-Ground Relationship

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. 

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.

Composition in F/G relationship

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

Neutral- centered compositions are stable, not dynamic. 

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: Figure-Ground Relationships (Space is Shape)

Project Due Date

Section 2/Samimy: Tue, Sept 22nd
Section 1/Samimy: Wed, Sept 23st

Project Description

Create a series of 3 abstract (non-representational) compositions using different shapes and value. Use the three types of figure/ground relationship to contrast forms against each other, as well as merge them together. Crop, combine, repeat, rotate, enlarge, and/or reduce the shapes. Think about the following concepts and relationships. Think creatively 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

The relationships between black and white must be as follow:

• Composition 1 with 25% black (whiter composition) White is visually dominant
• Composition 2 with 50% black (balance between black and white)
• Composition 3 with 75% black (darker composition) Black is visually dominant

Materials

• black construction paper
• x-acto knife/scissors
• rubber cement or elmers type glue or glue stick
• 9inch x 9inch paper (3)

Process

Homework- 
Start doing thumbnails with pencil or black construction paper in your sketchbook, at least 4 different ideas for each composition (total 12 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 and/or white construction paper. Use the same type of paper for your 3 compositions, so you do not have any change in white/black shades.

You will be graded on thumbnail ideas, compositions, creativity, craftsmanship, neatness, class participation during critique. You must respect the deadlines.

Students Samples

  
  

PROJECT 02: Line- Organic/Geometric. Due 9/8 Section 2/Samimy, 9/9 Section 1/Samimy

Project Description

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

Materials

• Black sharpie (Ultra Fine Point/Fine Point/Chisel Tip)/any mechanical pen w/ink tip

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 5 for each composition.

• Consult with your teacher; select the best pieces.

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

Explore enlarging the whole composition or some parts, cropping, adding or deleting elements.
• Be very aware of your line weights in relation to creating values, contrast, use variety of line weights, not just one. Composition is important and pay attention to figure/ground (positive and negative spaces)

Due Dates

Sept 8- Section 2/Samimy
Sept 9- Section 1/Samimy

Students samples

 

 

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing

SUMMER SKETCHBOOK: Due First Week of School

Project Description

Over the course of the summer, you are required to complete the 8" x 12" sketchbook from NWSA. The purpose of this project is to establish a practice based in observation and work-ethic. 

Observation: 
This involves disciplining yourself to slow down, and look carefully at the word around you. From careful observation, you will practice translating what you see in life, onto paper. Rendering the three dimensional world into two dimensions. Simply put- drawing from life. 

Work Ethic:
Art is based in practice. This means that it happens through regular activity. This requires dedicated and focused time spent every day. The sketchbook project is a way for you to develop your practice. Daily exercise.

Breakdown of Sketchbook

Your sketchbook will consist of 75% observational drawings and 25% experimentation. There are 120 pages total. This means that 90 pages should be drawing from life, the other 30 should be experimentation with materials, abstraction, and note taking. 

The notes in this book will consists of art and artist you are researching, other areas of interest that you want to explore in your work,  and reflections on how art can become part of your life.

Note: This sketchbook comprises the minimum requirement for your summer work. Additional work outside of the sketchbook is highly recommended and can consist of anything else you desire- painting, larger drawings, photography, animation, character development, etc.

Due Date

First Week of School in 2-D Foundation Class. 

Resources

Website on Observational Drawing Techniques #1

Website on Observational Drawing Techniques #2

Feel free to search the web for other tutorials on observational drawing, and how to use materials. 

PROJECT: Watercolor Series. Due Monday, May 4th Samimy; Tuesday, May5th Lambert

Project Description

Create six representational compositions in watercolor and pen that work as a thematic series. You will focus on your exploration with the watercolor medium to produce a group of six (6) small paintings addressing the idea of place, and using the following starting points.:

• Architecture (urban, suburban, rural)
• Landscape/Seascape
• Botanical/Biological

All six paintings must work together to communicate your idea regarding place. This can be literal, or conceptual. 

Examples of literal places include: your yard, south beach, fairchild tropical gardens, a vacant lot in your neighborhood, etc

Examples of conceptual places include: the idea of home, the idea of nature, the point where man and nature collide, the idea of country/patriotism, etc.

Rubric

You will be evaluated on the following:

• 25 pts- Homework/creative process (Thumbnails, comprehensives, title, theme)
• 30 pts- Quality of Compositions (Design Elements, focal points, eye movement)
• 30 pts- Quality of Painting/Rendering (Craftsmanship, technique)
• 15 pts- Concept/theme (communication of your idea)

Process

Class Day one- 

Four full pages of thumbnails 2" x 3"

12 comprehensives (full color) 4"x 6"

6 final compositions (hard pencil) 4" x 6"

(Finish the above for Homework, and start on your paintings at home)

Class Day Two-

Final Day of Painting. 

Due at end of class. Monday, May 4th- Samimy. Tuesday, May 5th Lambert

Examples

Look up watercolor artists. Start with William Turner watercolor studies.