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

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