This is my third and final submission. Since 4/15, I made changes to Fierce & Dynamic.
Here’s the link to my spreadsheets on Google Docs… I used one sheet per set: https://docs.google.com/spreadsheets/d/1Dc3NPyGepT0als0NsD1ibHjH0TJlo8l2Ft1kpaW3-DU/edit?usp=sharing
I’ve pasted out the contents of each spreadsheet below.
SET A: FIERCE & DYNAMIC
== Changes from v2 ==
My submission on 4/15 lacked internal consistency. I decided to pick one interpretation within my set that resonated to me as the most “fierce and dynamic”, and start from the beginning. It’s possible that the rules around interpretation have greatly limited my flexibility, but I decided to move forward with it anyway.
== Visual Language (VOICE) ==
Contrast of Space: white space should be balanced across the diagonal
Shape of Forms: long rectangles
Orientation of Forms: 45 degree angles
Size of Forms: minimum of 1×2 rectangles
Placement of Form: no symmetry between left and right sides of the composition, because of the diagonal
Space Between Forms: as a set, they should be aligned in the same direction; spacing should be consistent between adjacent forms in the diagonal. (this is not necessarily true of lines that run parallel to the main diagonal)
Other 1: interaction with the corners
Other 2: draw eye from bottom-left up to the top-right of the page
== Objective Rules (assignment rules) ==
#1: forms greater than 1×1 in size should be used, ensuring “fierce”
#2: forms of inconsistent size should be used
#3: in order to ensure “dynamic”, there should be no symmetry between the left and right sides of the composition. white space must feel balanced across the diagonal
== Interpretation of Visual Language ==
Word Associations: roar, strength, sharp, growling, fangs, hissing, traveling, fire, flow, movement
What did you interpret to apply your rules?: To achieve “dynamic”, forms need to move across the page. The forms should be grouped together and vary in some dimension (e.g., scale) to create dynamic. To achieve “fierce”, forms need to be long, and sharp.
Explain your process:
A1, Balance: First, I connected forms to draw a line. Because the line goes through the diagonal, the composition feels balanced. It’s a long line, so it is fierce. The forms are of different sizes; there is no pattern in sizing; and in a line as they move together through the page… therefore they are dynamic.
[A fun epiphany: The diagonal as an interpretation of dynamicism is supported by how we make two-dimensional graphs in math. Imagine the graph of y=1, a horizontal line. It does not change at all as x increases. This is NOT dynamic. Instead, the graph of y=x, a diagonal line, is more dynamic… there is a change in y with each x. This is what I’m using here. It’s really interesting to think about gestalt fundamentals behind two-dimensional mathematical graphs!]
A2, Balance – 3 Forms Using Scale: I re-used A1. The use of several different sized rectangles arranged in a neither ascending nor descending pattern leads to my strongest interpretation of “fierce” and “dynamic”.
“A3, Balance – 3 Forms Using Space: I started with my diagonal motif. To focus on space, I broke the rule of using forms of inconsistent sizes by eliminating scale completely. Consistent alignment and spacing contributes to balance of white space here.
The effect of breaking my rule was trading off the strength of my interpretation to optimize towards fulfilling the objective. Perhaps there are other interpretations that are less rigid than mine, where I wouldn’t have to trade off these two dimensions.
A4, Hierarchy Using Scale – Using at Least 3 Forms: Started again with the diagonal motif. I used two same-sized rectangles, and one with a different size. As the eye follows the diagonal up from the bottom left to the upper right, it will rest on the one differently sized rectangle.
A5, Hierarchy Using Space (No Scale) – Using at Least 3 Forms: To stay within my interpretation, I again started with the diagonal motif. Since no scale is allowed, I standardized the piece sizes. My plan was to make one piece different using space… specifically, I chose to give it greater spacing from the other elements that make up the diagonal. I chose the smallest possible pieces of 1×2 so that I could exaggerate the spacing between the “special” piece and the others. (With longer pieces, this would not have been possible.) I think the fierceness of my interpretation has suffered as a result.
A6, Balance – Rhythm – Using Scale and Space – Using at Least 3 Forms: First, I created a pattern to achieve rhythm. I had to break my rule of inconsistent sizes to achieve this. I made sure to include 2 different scales in the pattern. I used space to arrange into a diagonal. As usual, the forms are long.
A7, Balance – Rhythm – Using Scale and Space and Emphasis – Using at Least 3 Forms: I started with A6 and replaced the middle set of forms with a single, longer form. Emphasis achieved!
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SET B: DELICATE & WHIMSICAL
== Visual Language (VOICE) ==
Contrast of Space: 75%+ white space
Shape of Forms: small, connected forms of 1×1 squares in order to appear delicate and whimsical
Orientation of Forms: slight rotation, to appear delicate and whimsical
Size of Forms: Keep forms small. Avoid long forms (those look fierce), and avoid big forms (they aren’t delicate). If need to scale, then add another 1×1 square.
Placement of Form: angled squares overlapping each other appear flake-like, which fits whimsical + delicate
Space between Forms strive for white space between forms–when the flake forms come together, they look jagged. like a monster. NOT whimsical + delicate
== Objective Rules (assignment rules) ==
#1: the first form must be rotated at 45 degree angle
#2: the first form is two 1×1 squares that overlap
== Interpretation of Visual Language ==
Word Associations: airy, light, ephemeral, thin, floating, wispy, fine, playful, mischievous
What did you interpret to apply your rules? : My overall interpretation is that I need small forms which seem fragile and playful. I keep thinking of fun snowflakes.
Explain your process. :
B1, Balance: Start with the simplest case of the two rotated and overlapping squares. Rotation makes it look delicate. I use symmetry along a vertical line to achieve balance.
B2, Balance – 3 Forms Using Scale: I created 3 “flake” forms (which are defined as two rotated and overlapping squares). I added an additional square to one flake to achieve Scale. Then I positioned the forms to achieve symmetry along a vertical axis.
B3, Balance – 3 Forms Using Space: I started with Scenario 1. I created two more flakes. I chose to arrange these in a diagonal from the upper left to the bottom right to guide the eye. The effect is that the forms (“flakes”) are falling, which is a whimsical and delicate action.
B4, Hierarchy Using Scale – Using at Least 3 Forms: Reused Scenario 2. Hierarchy requires at least 2 forms to use the same principle (e.g., size, orientation, whitespace). The third form needs to be a contrast to the other two. The flake with 3 squares is different because it is bigger and on top, so hierarchy is achieved.
B5, Hierarchy Using Space (No Scale) – Using at Least 3 Forms: I started with a flake in the middle. The connotation of middle of the 10×10 square is “most important”. Because I needed to use at least 3 forms, I put one flake per corner. Because it is the only flake that does not occupy a corner, the middle flake is unique. Therefore hierarchy is achieved.
B6, Balance – Rhythm – Using Scale and Space – Using at Least 3 Forms: First, I wanted to establish rhythm, so I defined a pattern using 3 flakes. I placed them in corners and the center. Next, I thought about how to add scale to the pattern, so I added single squares between the flakes. My third step was considering how to add space to the pattern… I changed the angle of the single squares. The placement seems balanced. Ultimately, I created a composition that reminds me of leaves falling gently to the ground… leaves won’t fall straight to the ground, but will encounter some air resistance as it drifts to the ground.
B7, Balance – Rhythm – Using Scale and Space and Emphasis – Using at Least 3 Forms: I started from B6. To add emphasis, I experimented with removing the center flake. The effect of the removal was the top-left to bottom-right visual flow broke. So, I realized that the center flake was a critical piece to keep in there. I tried emphasizing this piece instead, by adding two squares to the flake. I rotated it slightly. This 4-square center flake is now emphasized. The result is that the center piece IS emphasized, but your eyes follow a curved, reverse-S-like flow from left-to-right. This flow feels delicate and whimsical… it’s similar to a leaf drifting to the ground. This is supported by how the squares are stacked… the effect is this form adds a third dimension. This facilitates the eye going from upper-left to lower-right without being disrupted by the size of the 4-flake form.
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SET C: SAFE & EFFICIENT
== Visual Language (VOICE) ==
Contrast of Space: primarily white space, rather than squares
Shape of Forms: Square 1×1″
Orientation of Forms: 90 degrees
Size of Forms: size should be equal, unless scale comes into play
Placement of Form: centered, aligned along vertical axis
Space between Forms: strive for equal space
== Objective Rules (assignment rules) ==
#1: start with square in the center
#2: use as few forms as possible
#3: strive for equal spacing, unless we need to use space
== Interpretation of Visual Language ==
Word Associations: system, simple, structured, minimalist, elegant, ordered, grid, machine, pattern, economical
What did you interpret to apply your rules?: My overall interpretation was that I should keep my composition simple and minimalistic. I should follow a grid-like structure, and only use right angles.
Explain your process.:
C1, Balance: I started with a single square in the middle. In my interpretation, that’s simplest case of “safe and efficient”. Throughout the set, I achieved balance by using symmetry.
C2, Balance – 3 Forms Using Scale: I used symmetry to achieve balance. I increased scale as I went down to maintain balance. I broke the “simple square in the middle” rule
C3, Balance – 3 Forms Using Space: I aligned the 3 squares along a vertical axis for symmetry.
C4, Hierarchy Using Scale – Using at Least 3 Forms: I achieved hierarchy through contrasting one square with the other two through scale.
C5, Hierarchy Using Scale (No Scale) – Using at Least 3 Forms: To achieve hierarchy using space, I changed the relationship of space between one square and the other two.
C6, Balance – Rhythm – Using Scale & Space – Using at Least 3 Forms: First, I created a pattern of squares using Space, to achieve Rhythm. Then, I scaled some of the squares.
C7, Balance – Rhythm – Using Scale, Space, & Emphasis – Using at Least 3 Forms: I followed a similar logic to scenario 6. To achieve emphasis, I greatly exaggerated the scale of the center block. It occupies the most important space, so I chose to break my rule of a simple square in the middle.