7. Right Side Perceiving the Shape of a Space, The Positive Aspects of Negative Space - praxis
Relationships (proportion and perspective). The negative space of the canvas is just as important as the positive elements that we place on the canvas. If you see graphic design as a. Proportion is the relationship of two or more elements in a design and how they White space is also analogous to "negative space" where "positive space" is.
Many times, designers will create a design that uses competing positive and negative space to place hidden images. The key to this effect is usually to keep the shapes simplistic in nature.
Below is a prime example of competing space. The white area looks like a vase or a statue. The black areas look like two faces staring at each other. Negative space is also used in other ways too. Gestalt principles are basic laws that define how we perceive different design techniques.
One of those Gestalt principles is called completion. This is where the image information may not all be present or defined with lines, but our eyes complete the shapes for us. The most common creative use of negative space is for the creation of a clever logo. The point is to use the positive space as text or one image, while the negative space forms another image. This is meant to create a mental image that can be associated with the name.
From a branding perspective, this can be a powerful tool for giving a logo staying power. Staying power refers to be ability to stick in the minds of anyone who views the logo. Below are a few examples of stellar logos with creative use of negative space. The NBC Peacock is a great example of negative space. The simple colored shapes form the feathers of the peacock. The negative space around the feathers give them more definition and symmetry, making the feathers easy to process.
The negative space also forms the body and the head of the peacock. The Gestalt principle of continuation forces our eyes to complete the shapes on their own. The Yoga Australia logo is an ingenious logo that uses positive shapes to create the person doing yoga, and the negative space within her arm and leg form the shape of Australia itself. Proportion is said to be harmonious when a correct relationship exists between the elements with respect to size or quantity.
The effective use of proportion in design is often referred to as harmony, a relationship in which the various elements of the composition appear as if they belong together in size and distribution. Example-if one figure is made to look larger compared to other figures in a composition, it is said to be out of proportion and is given greater importance.
Proximity[ edit ] Closeness or distance of individual design elements. Close proximity indicates a connection. Repetition[ edit ] Repeating a sequence; having it occur more than a few times. In design, repetition creates visual consistency in page designs, such as using the same style of headlines, the same style of initial capitals, or repeating the same basic layout from one page to another.
ARTH Shapes and Figure/Ground Relationship
Excessive repetition monotony may lead to boredom and uninteresting compositions. If one cannot avoid excessive repetitions for any reason, do not forget to add some visual breaks and white spaces where eyes can rest for a while.
Rhythm[ edit ] A strong, regular, repeated pattern of movement or sound. Successful designs have an effective ebb and flow. Text and Graphics should seem to be paced and patterned. Spacing is an effective application of this principle. Second, human beings are more comfortable with variation in general.
Psychologically, most any serious lack in variation of anything a solid, a line, a sound, a situation can become very boring. Adding a little variation at non-specific intervals every now and again gives most any design an interesting appeal as long as it is not overdone.
In setting type, rhythm can be created or disrupted. Compare the gibberish strings, "as erav mono ewone zenao oro remuna oravanam" and "githol urtym reislyt quadirit". Notice how the latter seems to be more organic and readable than the former.
Graphic Design/Principles of Design
This is resultant of two things. One, the eye more easily follows abnormalities and variation, like an ocular foothold. Too-narrow columns result in over-hyphenation. You want to achieve a very smooth, silvery tone. Next, lightly draw horizontal and vertical crosshairs on your toned paper. The lines will cross in the center, just as they do on your plastic Picture Plane. Use the crosshairs on the plastic plane to mark the position of the crosshairs on the format of your toned paper. They are only guidelines, and later you may want to eliminate them.
The next step is to choose a chair to use as the subject of your drawing. Any chair will do—an office chair, a plain straight chair, a stool, a cafeteria chair, whatever.
If you are lucky, you may find a rocking chair or a bentwood chair or something else very complicated and interesting. But the simplest kind of chair will be fine for your drawing. Place the chair against a fairly simple background, perhaps a room corner or a wall with a door.
Graphic Design/Principles of Design - Wikibooks, open books for an open world
A blank wall is just fine and will make a beautiful, simple drawing, but the choice of setting is entirely up to you. A lamp placed nearby may throw a wonderful shadow of the chair on the wall or floor—a shadow that can become part of your composition. Take the cap off your felt-tip marker and place it close beside you. Next, use your Viewfinder to compose your drawing. Fasten the Viewfinder onto your clear plastic Picture Plane.
Students are very good at this. Hold the Viewfinder very still. Now, gazing at a space in the chair, perhaps between two back slats, imagine that the chair is magically pulverized and—like Bugs Bunny, in a poof! What is left are the negative spaces.
They have real shapes, just like the remains of the door in the analogy above. These negative space-shapes are what you are going to draw. You will draw the spaces, not the chair. Choosing a Basic Unit 1.Figure Drawing Tutorial: Negative Space
Pick up the felt-tip marker. Next, choose a negative space within the drawing—perhaps a space-shape between two rungs or between two back-slats. This space-shape should be fairly simple, if possible, and neither too small nor too large.
You are looking for a manageable unit that you can clearly see for its shape and size. With one eye closed, focus on that particular negative space—your Basic Unit.
With your felt-tip marker, carefully draw your Basic Unit on the plastic Picture Plane. This shape will be the start of your negative space drawing on your toned paper Figure. The next step is to transfer your Basic Unit onto the paper you have toned. You will use your crosshairs to place it and size it correctly.