Design Project 1 (Part 2): Abstraction Through

Repetition

Delivered by

Mohammad Zikky, M.TMultimedia Creative Department, EEPIS Surabaya

Visual Design Fundamentals:A Digital Approach, 3rd Edition

Authors: Alan Hashimoto and Mike Clayton

Introduction

Another frequently used method of abstracting an object is to repeat all or parts of the object.

This method allows the designer to create a more complex design in which the composition may be unified by the repetition of shape

Method Two of Abstaction Repetition In this method, the designer may repeat the entire

object a number of times or may elect to repeat only parts of the object.

This type of abstraction is in part based on the previously introduced method of simplification because objects used in repetition studies are most often very simple in their individual forms.

In Figure below, the example uses the same simplified shape of a person (as seen on the right) and repeats it over and over to create a group of people, which ultimately defines the shape of a brain. We do not see the entire shape of the people shape, but we know what they represent

Example of a logo unified by the repetition of a shape.

In Figure below, the repetitions of the leaf shapes are not as important as the negative space that creates the outline of the dove. This use of positive and negative shape helps your mind try to close the gaps and bring closure to the image

The use of positive and negative shape creates closure

Content: The Basic Problem Defined In these studies, using the

same square format and marker technique as before, focus on how the repetition of all or part of the object can create new shapes in both the positive and negative areas.

The same requirement for recognition of the object is there, but because the object will be repeated more than once within the composition, each object within the frame may be used to tell part of the story (Figure beside)

Examples of student work

Background Although this approach to abstraction uses the same design elements as

in the previous chapter, this method allows for a different examination of how a designer achieves both variety and unity within a composition.

If a design shows an exact repeating pattern, the design becomes too unified and will not engage the viewers’ interest. A brick wall exhibits a great deal of unity through the repetition of shape, but other than trying to avoid running into it, most people pay little attention to its design.

This fact is not lost on architects and builders who have learned that even small variations in the pattern of bricks can help create interest in the side of a house or building (Figure below)

Small variations in simple patterns can help create interest in the design

At the opposite end of the scale, a design in which shapes repeat can still include too much variety. We try to understand what we see partially by seeking visual patterns and then by seeking those things that depart from the pattern

When a design includes too many elements that are too different from one another, we can no longer see the overall organizing pattern. The resulting composition is uncomfortable to look at, seems chaotic, and is very difficult to “read” as an object or objects. It tends to overwhelm us and become visually static

Figure below shows two designs that are essentially composed of similar elements. The design on the right achieves a greater degree of compositional unity. Because there are fewer variations, the viewer’s eye can take in the composition as a whole. The design on the left is too chaotic and lacks real structure

The design on the right achieves a greater degree of compositional unity than the one on the left

Conceptual ProcessHere are some things to keep in mind as you continue with this project:

Use the same initial drawing and object.

Use the same template of 4" × 4" squares and the same technique of marker studies.

For the initial studies, use both the initial drawing and the simplification studies from the previous chapter.

Some studies should work with fewer objects, and other studies should work with as many as eight or nine objects. Some studies should show most or all of the object, and others should show only partial objects.

In evaluating these compositions, pay attention to the negative shapes created by repetition as much as the shapes within the objects themselves.

Change the scale of the objects both within one frame and from frame to frame.

Keep in mind that exactly repeating patterns will not hold a viewer’s attention for long. Some variation is necessary for interest.

Too much variety can create visual chaos. What can create unity in a design with too much variety?

Conceptual Process (Continued)

You should do a minimum of 35 studies for this phase of the project. This will make you explore multiple possibilities rather than just a few.

From those 35, evaluate your work and do 10 refinements.

From those 10, choose three to take through the digital production process

Production Process

After you are done with the refinements and have narrowed your designs down to three, scan the drawings and prepare them for use in Illustrator CS4.

Most of the tools that you need to go through the digital production process were covered in Chapter 4.

In this chapter, you will learn how to better use some of the tools and options and make your time more efficient

Tutorial Design in Production Process Going to the book “Visual Design Fundamentals: A

Digital Approach” Page: 125 Follow those steps and try your own design with

them..

.: That’s All about this chapter .: