Design Project 1 (Part 3): Abstraction Using Line and Shape Delivered by Mohammad Zikky, M.T Multimedia Creative Department, EEPIS Surabaya Visual Design Fundamentals: A Digital Approach, 3 rd Edition Authors: Alan Hashimoto and Mike Clayton

Method Three: Line and Shape  The methods of abstracting the object covered in Chapters 4 and 5 depended on enclosed and filled shapes as the primary design elements.  This chapter deals with a method of abstracting the objects in which closed shapes are combined with shapes implied through the use of line. Using line to imply but not fully enclose shapes also allows for a better integration of positive and negative shapes within the composition.  The addition of linear elements also adds another level of variety to the design

Content: The Basic Problem Defined  Use the same object and initial drawings as in the previous chapters to do a series of studies in which line is used to imply part of the object.  Line should not be used as an outline that completely encloses each shape, nor should it be used to establish value or texture—as in crosshatching or “shading” a shape.  The focus of these studies is to explore how both single and repeated lines can create implied shapes that harmonize with the explicitly drawn shapes.  Using line in this way will also make you more aware of the integrated relationship between positive and negative shapes (Figure beside)

Background  The two previous methods of abstraction used the manipulation of shape, both positive and negative, to communicate the object in a simplified way.  This project is still primarily concerned with shape, but in this case, some of the shapes are implied  Initially, when asked to use line to create shape, most beginning designers will either draw an “outline” that encloses an unfilled shape—similar to a child’s coloring book (Figure below, left), or the designer will use lines to create a pattern or texture within a shape (Figure below, middle).  Both of these have a place in creating compositions, but this project will focus on creating implied shapes (Figure below, right). Beginning designers usually use line to create an outline of the object (left) or make a texture or pattern (middle), when they should use line to create an implied shape (right).

Background (continued)  Although less familiar to most students, this is a commonly used device in visual communications (Figure below)

 The use of line to imply shape can help with the integration of positive and negative shapes into a unified composition.  The composition in Figure below (left) uses similar shapes to achieve some level of unity, but the negative white area on the lower right is a “trapped” shape so it becomes difficult to relate to the black positive shapes and to the remainder of the white space in the composition.  Figure below (Right) shows how the same basic shapes can be implied using line. By using line in this way, the negative (white) shapes are more integrated. The gestalt principle of closure allows the viewer to mentally complete some of the shapes. The composition completely encloses the shape on the lower right and causes it to look “trapped.” In this composition, your eye closes off the top of the image and leaves you to imagine the closed area at the lower right

In the student example shown in Figure below, several line weights are used as contrast to the solid shapes, and the white “negative” shapes are contrasted with the black “positive” shapes to achieve an integrated composition that exhibits both unity and variety Line adds variety to the overall composition

 This project may draw on all the uses of line to create shape, but it should focus primarily on the use of line to create implied shapes.  Look at Figure below. Notice how line and shape are used to imply different meanings.  The image on the left uses line to represent the silhouette of a face repeated three times to imply the wings of a swan.  The lines, angles, and corners of the house in the center logo imply a sense of space and depth.  The combination of shapes and lines in the example on the right frame the negative space when a pen tip is implied.  You can use similar practices in your designs as you look at the relationships between the lines and shapes. Three examples of logos using line and shape.

Conceptual Process  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 Chapter 4. In this phase, you may also repeat the object, but too much repetition will make these too chaotic, so two or three is usually enough.  Some studies should show most or all of the object, and others should show only part of the object.  In evaluating these compositions, along with the positive shapes, pay attention to the implied shapes created by line.  Change the scale of the object both within one frame and from study to study.  In using line to create an implied shape, consider how the alignments between the ends of the lines work to help unify the design, and consider how using similar angles can also help to create unity and rhythm within the composition (Figure beside). Consider how the alignments between the ends of the lines work to help unify the design

Production Process  Going to the book “Visual Design Fundamentals: A Digital Approach” Page: 136  Follow those steps and try your own design with them...: That’s All about this chapter.:

Summary  The third phase of this abstraction project uses principles from the first two phases as stepping stones to create the forms for the design, but through line and shape, those forms can be interpreted in various ways.  Using line, the contour of the shape can be defined without the need for volume. That volume is implied and allows the viewer to finish the shape in his mind. Line should also be used to define shapes within the object but not used as texture of value.  Some students feel the need to use lines to create crosshatching, when shape can be used to create a large shape that can be interpreted as value.  Consider how alignments between the ends of lines can work together to help unify a design.  Use similar angles to help create unity and rhythm in your compositions.  Mix line, shape, scale, position, repetition, and implied white space to achieve the best designs