Statement of Intent
My goal for this project is to create a composition of layers that convey a sense of deep space emphasized by the application of light. Throughout the design process, I wanted to explore both physical and conceptual perceptions of depth, and communicate deep space in a way that was accessible yet unique. In doing this, I chose to depict subject matter that appeared perhaps mundane or everyday at surface level, but that would be deepened by addition of light to the composition, allowing the perception of a space that one might not automatically think of as deep to be transformed.
Ideation
We began the ideation process by exploring different fonts and their positive and negative spaces and their relations to us as individuals with our initials. The negative space aspect was something that was at first a challenge, as I was using my first initial of a T, which does not have closed negative space. My initial iteration led me to reversing the positive and negative space in order to create an image that encompasses my first initial rather than using the negative space to create an image. This was technically not within the specific rules of the exercise, but was an interesting exploration nonetheless that helped build my understanding of working within positive and negative spaces.
I arrived at my final iteration using both my first and last initials, T.O., using the negative space within the O to create an image, which I tested first with seashells, and then with a ghost, and finally an old-fashioned smiling moon. I landed on the moon for my final, as this iteration met the challenge we were given of a maximum of three pieces when cut on the laser cutter. I also felt that it best exuded an aspect of myself, with my inclination towards vintage and slightly more quirky inspiration sources.
Additionally, we played with light and shadow during class by creating images from the shadows of random objects we found around the room, in our bags, etc. I used one of my AirPods and a tube of lipgloss, the shadows of which created a butterfly and batman, respectively, through my eyes.
After these in-class exercises came brainstorming ideas for my composition. Our first assignment in this area was to sketch out a number of initial ideas in between class meetings.
Once I shared these sketches with my classmates and instructors, I was able to focus in more on the ideas that stood out most in conversation and dive deeper into research. Out of my sketches, the ones I found myself resonating most with were ideas of cabinets, bookcases, and the like, and the various objects and their stories that lie within them. It was really the more conceptual depth that provided intrigue for me, and my instructor recommended I do some additional research into the concept of a “Cabinet of Curiosities”. I also did more sketching into the ideas of closets, windows, hallways, and thresholds in general as this was something I was incorporating into the cabinet composition, and wold keep in mind throughout the process to potentially shift my focus towards.
This concept of a “Cabinet of Curiosities” was essentially the exact idea I initially had in mind, but didn’t necessarily have the specific definition to convey. Although a bookcase is (relatively) shallow space in a physical sense, I felt compelled to explore the more conceptual components that might give this subject matter a deeper sense. From here, I began the process of sketching out ideas for how to transfer this concept to a composition.
Iteration & Production
As a class, we engaged in some exercises involving the process of writing an effective concept statement in art and design. Applying these strategies to the concepts we were each developing for this project, we began the process of building our own concept statements.
The start of the physical iteration process involved first creating a model of my composition. I designed this first model at a smaller scale, so as to not use more Bristol than needed. The model included a couple different elements I found interesting within the shelves, and featured a dolls house as the sort of main attraction, which is where I started to add depth to the space, incorporating the concepts of views through doors and windows and what they might reveal. I also featured a skull, specifically the skull of an alligator, as bones, especially skulls were something I came across often in my research and saw potential in the cracks and crevices of.
Through this modeling practice, I was able to get a better sense of the way the layers needed to be arranged to produce the effects of light I was after. After this was when I began taking these layers into illustrator, preparing them to be cut using the Cricut machines. I had to do a lot of sketching during this Illustrator translation process, as the interactions of light with each layer were a challenge to visualize in a 2D, digital format.
Scale was also a challenge here, as the Cricut was unable to cut certain details. Laser cutter access was difficult as well, so I had to work around some of these issues by editing my composition and Illustrator files accordingly following test cuts, and cutting by hand what I was able.
With this iteration, I cut the layers pictured in the file above using the Cricut and the additional aspects of the composition using hand process.
Following feedback from instructors as well as the input from peers I received during our first class review, I decided to shift the focus of my composition to a deeper view of the dollhouse component. I had been back and forth with this throughout the project, as I began to notice earlier on in the process that most of the emphasis on the depth of the space was originating from this area. This decision was also influenced by the capabilities of the Cricut process when it came to cutting details, and because the laser cutter was not the most dependable option I wanted to remain flexible and be able to incorporate hand-cutting if I needed to do so. It also seemed to be the consensus, between the feedback I received and myself that the layers, and therefore depth of the space was somewhat lost in the amount of detail I wanted in the size constraints of the project. Ultimately, I found that communicating this idea of deep space would be more effective if I honed in on this area of interest. I then started building a new composition, one that focused in on the front facade of a home.
I then translated these sketches into Illustrator files once again, and used the Cricut machines to cut the more detailed porch layers and layer with the creatures. I cut the porch layer twice, one remaining partially hollow above the porch and the second layer being filled above the awning to create extra depth. I used the same layer to make this cut on Illustrator, as the Cricut was unable to cut the second layer for reasons unknown.
After cutting the my porch and creature layers using the Cricut process, I used these layers and a light table as a reference to visualize and hand-cut the remaining layers. The hand cutting process was, although more time consuming, an easier way to visualize the way light would interact with each layer as I was creating them.
I still wanted to incorporate the mysterious, slightly spooky energy of the contents of my original plan, and ideated with ways to fit this into my new composition. Incorporating the peeking figures seen in my earlier cabinet compositions in the windows and doors seemed like the most interesting way to do this that could bring in an element of reveal as well. After cutting these creatures on their own layer using the Cricut, I used a sewing needle to create holes through the layers behind their eyes. This created the creepy glow from the eyes I was after when light was shown through the paper, as without these tiny additions the light appeared more dull and less prominent.
I then dove into creating the relatively simple additions that would truly add depth to the composition. With what I had learned from my modeling and experimentation throughout this process, I decided to use stacked forms of Bristol to create the illusion of deep, dark hallways and even a staircase in the interior of the home. Using a light table, I first drew in the areas I wanted there to be a view into a hall or corridor, using only simple arches and rectangles, through each window. I then used leftover pieces of bristol from previous cuts to trace these forms onto. Next, I hand cut these traced forms, and glued them to the back of the layer of Bristol onto which I had originally chased, so they mirrored the way they would actually appear to the viewer.
I repeated a similar process to create the porch awning on the building’s exterior, using the additional layer of Bristol to darken the area and create the illusion of a roof over the front porch. I used this same process to create an effect similar to that of peering through glass seen on the front door.
My final piece was comprised of 6 layers, with some elements attached to the second and back layers for stability, as previously described.
Reflection
Throughout this project, I definitely learned some valuable things about not only the design process, but also about the intricacies of production and the value of drafting and revision. The aspect of exaggeration as an additional objective to deep space was an especially challenging aspect for me, as I tend to fall on the more realistic side of composition by nature. We did have an in-class review of our work to present our drafts and gather input from classmates, which was something I was initially hesitant about but ended up being very helpful in editing my composition. This also gave me more clarity and confidence as to how to move forward with my design, resulting in a final iteration that took a different focus than the original, but that I feel communicated the objectives of the assignment more simply and in this case therefore clearly as a result. Overall, I was able to find success in this project, as well as the balance between risk and clarity in developing a composition.
Portfolio Project
The page showcasing my final Layers project can be found through the link below!