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A
Mini Course in Design Principles
This
course is designed as a complement to the line-study problems
and it is taught during the second semester. Simple exercises
based on a variety of design principles using cut paper or
brush and plaka are done outside of class. To keep focus on
process, cut paper and a restricted format are specified.
Black and white plaka are used for sketching with a brush
in a very loose, free manner. This encourages student exploration
while examining numerous options before finalizing an image.
Students
need to expand design experiences, acquire design vocabulary,
and at the same time, to identify and understand theoretical
design principles in a broader sense than found in the line
and shape exercises.
Depending
on how much time we have, or how slowly or quickly students
progress with line-studies, we sometimes do compositions.
This is a substitution when we did not have time to do research
and design for an animal, bird, reptile, insect, etc. One
year we did still-lifes using fruits and vegetables. Other
years we did compositions based on a profession or an activity.
On two occasions, one section did a composition based on Alaska
while the other section did a composition based on Arizona.
Complexity
of the composition problems is based on time parameters and
an estimate of student capabilities. It was obvious that students
understood very little about composition, and without criteria,
they experienced great difficulty in organizing elements into
a composition.
While
the line-study sequence has always been extremely effective,
it has always concerned me that there were so many aspects
of design composition that were dealt with indirectly, and
compositional tools and criteria needed to be more strongly
emphasized.
When
students enter the basic design program, they are predominantly
content-oriented with emphasis on representational imagery.
The principal objective for basic design is to make students
perceptually aware and better able to see visual qualities
as well as content. They should learn to view any image
including representational, as an abstraction. It is important
that they understand visual criteria and how theoretical principles
relate to practical design. Knowing design principles does
not in itself make a good designer it is how they are applied
that determines quality.
Sequence of Exercises
01
Dynamic and Static Composition
02
Defining
Space through Placement
03
Defining
Space through Scale and Value
04
Illustrating
Two Shapes as One, as Two or in Tension
05
Tension
Relationships
06
Tension
to Achieve Visual Balance
07
Preserving
Integrity of Shape with Tension
08
Figure-Ground
as Tension
09
Activating
Ground with Shape
10
Activation
of Figure and Ground to Create Multiple Planes
11
Maximum
Activation of Ground with Minimum of Figure
12
Composition
of Tension Lines Illustrating Space and Activating the Picture
Plane
13
Contrast
of Size and Surface
14
Division
of a Square into Intervals of Line and Shape
15
Line
Intervals to Define Planes
0a
A
flat plane receding into space
0b
A
curvilinear plane showing form
16
Organization
and Establishing Priorities
17
Final
Project: Composition Illustrating Application of Principles
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