Shape Grammar

Design 2110: Design Fundamentals

Assignment 2: Shape Grammar

Description

In this project, you will be exploring organizational and communicative tools. Starting from a historical perspective on this idea and process, we will investigate how developed strategies such as the Elements and Principles of design are used for conveying meaning and intentional experiences in our design work.

Through this project, students will:

  • Illustrate complex ideas using essential elements such as Shape activated by experiments through reviewed compositional principles.
  • Practice rapid iteration techniques exploring the effect of compositional selection and manipulation as part of the design process
  • Analyze observations and investigations with the goal of selecting ideas to bring to completion
  • Actively define and employ key vocabulary terms related to course content in visual, written, and verbal communications.
  • Examining and evaluating stages of work through self and class critiques

Visual design approaches developed in the last century (emphasized in Western cultures) pivot between two fundamental ideas (there are indeed more ideas but for the purposes of this assignment, we will compare these two approaches).

  1. The way designed forms and experiences communicate, are constructed as a type of language. Like written and spoken languages, it has rules and strategic structures that facilitate intentional communication, functionality, and comprehension.
  2. Design, like Art, is found in experimentation, creative expression, or vision. Ideas are inspired and inspirational.

We will experiment with these two composing strategies found in art and design history. These strategies will initially appear contradictory in approach and outcome- your mission is to find commonalities or relationships.

*Context- Art and Design education initiates student experiences with visual emphasis but we stress now and hope you test these principles throughout the program. With focus on (or privileging) visual approaches to design, we can test means of discernment- making design decisions based on gathered knowledge, testing, and experiences in balance with our own intuitions. It is important to note that this knowledge can be expanded to a full range of senses.

Process

Create two comparative compositions:

  1. Comp #1: Using only one basic shape (object primitive), construct a composition using repetition and a focused additional principle of your choice. Your goal is to communicate a specific state of being such as an energy or emotion (use a single descriptive word) through intentional arrangement of shapes on a plane.
    1. Define an energy or emotion you wish to communicate.
    2. Select a single basic shape- circle, triangle or square (you may wish to test the shapes before committing to final shape).
    3. Transfer your shape to black or white cardstock/Bristol.
    4. Cut it out and repeat shape making, as needed. You may not use more than one shape, but you may vary its scale/size.
    5. Experiment with shape placements (document your tests so you can compare and transfer to your final) until your composition visually communicates your intended emotion or energy. Constraint- no overlapping shapes as you explore composition.
    6. Complete the composition by securing shapes in place.
  2. Comp #2: Following ideas found in Arp’s Laws of Chance compositional process, construct a composition using an unintentional/indeterminate/random process to create your composition. Explore methods to “randomly” disperse your shape from Comp #1. Document each attempt. Your goal is to find a composition that communicates the state of being (emotion or energy) defined in step 1. If you are unable to achieve this specific energy or emotion- find a new energy or emotion to express. Secure composition organization for presentation in class.
    Hint: By nature of the process, energies like confusion or uncertainty are easy to find- experimenting with dispersal techniques may provide unexpected and useful results.
  3. Photograph or scan work completed by hand and save file as single pdf.
  4. Title your compositions using descriptive language (a single word- likely an adjective or verb)- considering the energy that you have created through the shape relationships. Include title/label for each composition and provide concise description (principles activated) in your pdf submission.
  5. Write a short reflection of your process. How are the two processes similar? How are they different? How many iterations did you need to complete before finding “successful” solution? Were you able to find a “successful” solution? What more do you think you need to build a confident composition or process?

Material and size requirements

Composition 1: 13” x 8”.

Composition 2: 13”x 8” minimum, 5’x 3’ maximum

Black and white cardstock and/or Bristol paper; if size requires, white paper in 234.

Rubric

*A significant evaluated component contributing to the relative success of your composition is established through intentional crafting and the construction process. Practice cutting and glue techniques.

There are 100 points available in this assignment. It is weighted as 15% of your final grade

Process
Assignment requirements met and instructions followed: 5 points

Portfolio: 10 points

  • Process Post content and organization

Process: 25 points

  • Quality and substance of documented process including exercises, readings, and composition iterations

Participation: 10 points

  • Participation in discussion and critique; Attendance and preparedness to work; Meeting checkpoints and deadlines

Final Outcome
Content: 25 points

  • Quality of included content: use of elements & principles to communicate meaning

Design: 25 points

  • Intentional execution/craft: Digital and Hand work; Organization of elements

Calendar

9/6: Introduce A2 Shape Grammar

9/19: A2 Due

9/20: A2 Review & Process Post work