3
Defining
Space through Scale and Value
A
Using no more than four squares of varying dimensions, show
space using scale. Exaggeration of small to large creates
the most dramatic effect.
B
Using four squares
of varying values of gray to black create a spatial composition.
4
Illustration
Two Shapes as One, as Two or in Tension
The next series of exercises has to do with different
manifestations of tension. Tension is a very important design
tool that has numerous interpretations. An old painter once
described tension as a very important something between two
points where there is nothing.
Tension
exists in color, drawing, relationship of shapes, and it is
extremely important in any kind of composition – typographic
or otherwise. Tension is a principle that is manipulated for
numerous effects or purposes. As such, it is one of the most
important design tools a designer can exploit. It is essential
to recognize and to know how to use tension.
Divide
the 10 x 10 inch picture plane horizontally into thirds with
lines using a rapidiograph pen.
Top
section: two squares placed next to one another to appear
as one shape.
Middle
section: move the squares to opposite edges to read as two
shapes.
Bottom
section: slide the square back and forth until you ind that
exact point where it cannot be determined if it is one or
two shapes – that will be the tension point.
5
Tension
Relationships
Using one fourinch black square (or a fourinch
square from a photograph) and one linear unit (or a line of
10 point type) 1/8 x 3 1/2 inches make three arrangements
– either static or dynamic:
A
Relate linear unit to square as one shape.
B
Put linear unit
into tension relationship with square.
C
Make linear unit and square two separate entities that
are visually related.
1/8inch
strip must align with left side of the larger square in all
three exercises.
The
purpose of this exercise is to demonstrate how captions can
relate to photograph, illustration or any other element. This
is of particular importance because too many designers do
not recognize the importance of the visual dynamics of this
relationship.
6
Tension
to Achieve Visual Balance
Using
three squares and one 1/2inch red circle, activate the entire
teninch picture plane using tension. Arrange squares into
an unbalanced format, and then create a visual balance using
the red dot; at the same time, activating the entire picture
plane. It works best if the red dot is slid up or down the
edges.
A
Using one red dot
B
Using two red
dots
C
Optional: You can use dots and three lines of type.
7
Preserving
Integrity of a Shape with Tension
A fourinch
black square is cut vertically into three sections, one of
which will be oneeighth inch wide,and the other cuts are
made at the student's discretion.
Squares
can be placed in either a static or dynamic relationship to
the edges. Sections can be rearranged.
The
sections are slid back and forth to ind the greatest amount
of tension between the sections. Top and bottom edges must
always align with all sides parallel. The objective is to
retain the integrity of the three shapes as one shape through
tension.
