Two-Dimensional Design

Overview/Objective
Shape and form are fundamental to the language of design. The potential of these elements within a composition will be explored. An understanding of these building blocks will give the artist and designer a basic visual vocabulary. Systems of organizing space and form will also be discussed. This unit will build the ability to manipulate two-dimensional elements of shape and form including:

• Line
• Shape
• Texture
• Value
• Composition

Final Project Description

The final project for this unit will be an 11 x 14 inch 2D design. Shapes will be developed conceptually, centering on visually communicating the experience of being part of a particular cultural, social, community group or organization.

Materials

Supplied

• Cutting mat
• Dry mounting adhesive
• Some black, white and gray paper
• Some black and white gouache

Preliminary Work and Final Project

• Sketchbook
• Tracing paper
• Bristol board (11 x 14 inch)
• Paper (white, black, gray, transparent)
• Pens (white, black, and gray)
• Cutting tools
• Blades
• Metal Ruler
• Pencils
• Eraser
• Brushes
• Palette
• Drafting Tape
• Glue stick

Research/Process/ Preliminary Studies

Research
On a minimum of two sketchbook pages collect images and information about an artist, architect, or designer who has work in which at least one of the design elements (line, shape, value, and texture) is emphasized. Make notations regarding the use of design elements near the examples. Include authorship citations on all collected examples.

Conceptual Development/ Shape Development
Create a shape that will be used as the focal element of the final project in this unit. Develop shapes based on the idea of what it is like to be part of a particular group. Some areas to begin thinking include:

Object - What visual information could communicate specific knowledge of being part of a group? Seek solutions that are not too obvious. For example, a rock climber may depend heavily on a particular pair of shoes. The form of the shoes, or a particular part of the shoes such as the tread could be a place to begin. This example is based on an object: the shoe.

Experience - Is there an experience that might be a catalyst for a shape? For example, a swimmer likely experiences sound above the water differently from sound below the water. How could this contrast be represented visually? This example is based on an experience.

Place - A physical location might be important to a particular group. For example, the sky or a runway might be important places for a pilot. These places could serve as inspiration for a shape.

Create 25 thumbnail sketches of ideas for 2D shapes. Cover a wide range of ideas as well as variations on each. Explore a variety of possibilities from abstract forms, to forms that reference something in the real world. Create a variety from geometric shapes to organic shapes. Shapes can have negative spaces inside of them. Consider how particular shapes and lines can evoke the experience of being part of a particular cultural, social, community group or organization.

In addition to creating thumbnail sketches of shapes, fill at least one sketchbook page with notes and thoughts (these can be writing, drawings, collages, collected items). This exploration could enrich the ideas for this project.

Project Development/Preliminary Critique
Using the best of the shapes generated, develop three refined compositions using Bristol board as a project surface. Explore variations on compositional components as discussed in Chapter 3. There will be a preliminary critique of these compositions. Presentations must include three refined Bristol board compositions and a half page statement on the development of the compositions including a discussion of the use of line, shape, texture, and value.

Final Project Production
Using input from the preliminary critique, create a final composition on 11x14 inch Bristol board that uses the elements of line, shape, value, and texture to create a well-balanced and complete design. Elements will be cut out of paper and collaged onto Bristol board with dry adhesive. The design should communicate the idea/concept that was the catalyst for the dominant shape. The final composition should demonstrate knowledge during this unit. The use of templates in the creation of the final cutout shapes will be helpful.

Final Project Presentation
For the final presentation, projects must be well crafted and ready to present at the beginning of class. Projects not ready at the beginning of class will be considered late. A one page typed discussion of the work must accompany the final project or the work will not receive a grade. The writing should address the concept used to develop the shape, the use of line, shape, value, and texture within the final work, how the compositional design supports the idea. Finally, include an analysis of what worked well and at least one area of possible improvement in the final piece. Work must be submitted with all preliminary work for this unity in a portfolio.

Reading/Quiz

Stewart: Introduction, Chapter 1 and Chapter 3

Unit Assessment

Designs will be assessed on the application of design principles as well the concept. Visual elements should support a concept. Refined assignments as well as the finished project will also be assessed on the quality of the craftsmanship. Participation will be assessed during critiques as well as during in-class work time. The following unit components will be given the following amount of points:

Final Project 50 points
Final Design
1 page statement

Process/Research/Preliminary Studies 35 points
2 sketchbook pages on artist, architect, designer
25 thumbnail sketches of shape
2 sketchbook page of concept development
1/2 page statement
3 Bristol board compositions
All of the above items are to be submitted in a portfolio with the final project

Reading/Quiz 10 points         

Participation 5 points
Critique contribution
Use of class time         

Total Points Possible 100 points