Symphonic Design

On Wednesday I went to the African-American Quilt exhibit in the Nelson Art Gallery that is currently showcasing at the UC Davis campus. Each quilt portrayed a unique pattern and design. Every quilt I saw established their own individual rhythm, creating a symphony of texture and pattern. As my eyes danced along the movement of bright and subdued patterns and I was lost in their visual melodies. I found that the tempo would quicken amongst the bright, dynamic patterns of some quilts and slow to a calm, even pace as my eyes reached balanced shapes and pastel repetitions. 

            One quilt, called Slave’s Popcorn Quilt, embodied the qualities of a legato musical rhythm and incorporated the aspects of alternating rhythm as well. Analogous, puffy rosettes softened its grid-like pattern. The repetition of each fabric disk, created a pattern of twelve squares, along with a pastel purple border. In the middle of each square, the colors of the disks interchanged. This created an alternating pattern within a more stable pattern. Although its pattern takes on a hectic description, its complete appearance was peaceful and serene.

            The second quilt that caught my eye was morbidly titled My Mama is Dead. This quilt possessed the attributes of a staccato musical rhythm. The quilt contained only three colors but its labyrinth of lines and their irregular densities created a dynamic contrast of abrupt changes. The red, black, and white produced bold, positive and negative spaces as well as a haphazard composition. Although the texture was quite muted, it prevented any distraction from the quilt’s dramatic pattern.

            Each quilt I encountered sent my senses soaring amongst a whirlwind of textural beats. These decorative bed covers included their own individual visual rhythm through a variety of patterns. The entire exhibit contained an illustrated symphony of colors, textures, repetition and pattern. This “music” I was feeling, made me realize how something as ordinary as a quilt’s design can leave a person captivated. It is a simple household object, yet it is a prime example of design’s omnipresence. After entering the art gallery I felt as though I was in the midst of an aesthetic orchestra. I was the composer and through my heightened senses, I had successfully learned to conduct a group of quilted musicians.  

A Movement Towards Design

Over the last two years I have taken two drawing and composition classes. In both of these classes there was always at least one or two weeks dedicated to figure drawing. Not only would we have to focus on sketching the anatomy of our models but we would also have to capture the movement of the individuals. In order to suggest action, I had to learn the basics of gesture drawing. Gesture is a design technique that represents movement. This is achieved by the repetition of multiple images. If a figure is drawn in an overlapping sequence of poses, the slight change of each position will suggest that movement taking place. Another popular method when depicting movement is the use of blurred outlines. A blurred image will appear to be captured in a mid-action activity.

            Some other techniques to suggest motion can be seen throughout every day designs. One popular method is repeated figures. Comic books are a good example of this—they commonly follow this format through sequential panels.  Motion can be anticipated as well. One common form is transportation. Swift cars, planes, and trains often have bodywork designed with sleek lines. These lines express speed and lithe maneuverability even while the vehicles are at a standstill. The right design will manipulate the senses by insinuating motion, without any physical movement. However, in order to achieve such an appearance, the techniques that I have presently discussed must be properly executed. When this happens, design is then given a life of its own.  

Image Source: http://kms.kapalama.ksbe.edu/art/lessons/03line/Image19.jpg

Sustainability Across Curriculum Lecture

Today I attended the lecture “Sustainability Across the Curriculum: Stories and Strategies for Change”. Guest speaker Geoffrey Chase presented the lecture that highlighted the need for more environmentally incorporated curriculum. He is a firm believer in sustainability and higher education. Chase went on to explain that sustainability requires meeting the needs of the present without compromising the ability of future generations to meet their own needs. Chase further went on to point out that there must be an intersection of three domains in any college curriculum: economic, social and environmental. By doing so a student can develop awareness about his or her environment and sustainability through thinking and questioning.

            After listening to Chase’s suggestions, I must say that I agree with incorporating sustainability into our curriculum. It is a real life issue and something we come in contact with every day. If we are going to college to become a professional in our field of study it is only inevitable that we learn about current issues we will face both in and outside of the workplace. The way Chase presented his ideas of curriculum incorporation sounded interesting as well. He gave several examples of how sustainability could be presented in several interdisciplinary subjects. Design in particular is a prime candidate for introducing sustainability. There are several ways design can play a huge role in environmental issues. Personally, I would like to learn about sustainable design because if we are future, then I would like to take part in a change for the better.   

Three Little Letters

Looking around the UC Davis campus, I see the same design everywhere. It’s not set in the architecture, and it’s not the campus landscape. It is on sweatshirts, t-shirts, pants, shorts, hats, school supplies, backpacks, and hundreds of accessories. It is three little letters but they have gained an instant recognition and respect among students, faculty, and alumni. The infamous design on campus is a mere three letters: UCD.

            Such a simple design has found numerous ways to be altered and revamped. The design of these three letters has been manipulated to accommodate the target market of their wearer. For example, if you walk into the student bookstore, you will notice that it is divided up into different sections. Each of these sections caters to a certain group of consumers. Within these groups, one can find the school’s letters imposed on all different types of merchandise.

            The various designs of these three letters showcase the importance of design elements. On paper, these letters are a means of identification--an educational moniker. On clothing, they are the focal point of student fashion. This focal point relies on the solitary appearance of three letters. A focal point must remain related to and a part of the overall design. At the same time, an emphasis is needed when an idea is being promoted. In this case, it is the feeling of school pride and recognition. It is a symbol of achievement and acknowledgement. It is our university’s icon.

            One way to meet the consumer’s demands is to play with scale and composition. Scale can achieve emphasis through the frequent modification of a focal point. By taking these three letters and playing with size, a designer can imitate the feelings of the student body. By enhancing the size of the text, a sense of pride is projected. Small, delicate letters create a more feminine feel. Sleek, structured, script of a moderate size emits an emotion of achievement. Whatever the sentiment, a focal point that is properly executed through scale and composition will produce a successfully selling product design.

            Design is all around us, in even the most simplistic of forms. Just like a school’s letters, a design or symbol can create a mood and a representation of personal achievement. When a focal point is executed properly, so much can be said with so little. UC Davis is a proven testimony of such practice. So next time you are on a college campus, remember the process design has gone through in order to find its place amongst the student body. 

Image Source: http://bookstore.ucdavis.edu/images/items/large/Item8419.jpg

Perceptual Conundrums

Have you ever taken an optical illusion test? If so, you have probably seen the Rubin vase/profile illusion. This picture tests the theory of visual perception. It uses negative space to draw your eye to two different possible images: a profile of a face or a vase. The figure/ground relationship in the picture uses the black background to project the image of a vase and the white background to create a profile silhouette. This picture is quite a conundrum. To say the image is one figure over the other is disregarding the elements of the picture. The discerning difficulties of this picture arise from the complicated figure-ground relationship. Subconsciously, a viewer will tend to group together images that are alike. This is because the viewer is searching for some sort of organizational pattern or unity throughout the illustration. However, the negative and positive spaces are merged, creating an ambiguous set of figures. Visual perception is ultimately the deciding factor in the translation of the Rubin vase/profile illusion.

            Designers have to take into consideration the visual perception of viewers. Designers often refer to the gestalt theory to help remind them of this observational process. The gestalt theory studies the brain’s self-organizing tendencies. The Rubin vase/profile illusion is an example of the practice of this theory. Viewers search for unity throughout the design through the use of positive and negative shapes, contour, figure, and ground. This instinctive process does not solely apply to optical illusions. It is practiced every day. Any design that can be found will lead the brain on an exploration of harmonious form. So exactly which image is being represented in the Rubin illusion? The answer: the characteristics of visual perception. 

Image Source: http://www.daviddarling.info/images/vase_illusion.jpg

A Golden Design

The dictionary definition of three-dimensional is something that possess or appears to possess the dimensions of height, width, and depth. When looking at a three-dimensional design from a design perspective, this definition expands significantly. A designer must be able to create a piece of work and include aspects that give their piece life and visual appeal. This is not an easy task. Because we view three-dimensional objects from all angles, a successful 3-D object must be fluid, not static. My favorite example of thriving design complexity is very near and dear to my heart. It is a public structure, yet it also holds the key to one of California’s most historical cities. This infamous three-dimensional design is the Golden Gate Bridge.

            Many refer to the Golden Gate Bridge as a great architectural work. However, when examined closely, there is so much more the bridge has brought to San Francisco than a suspended, structural means of connection. This bridge is a symbol of the city. Its structure is proportional to its suspension cables and its orange vermilion color adds a refreshing pop to the foggy, grey morning skies of the San Francisco Bay. When examined from all different viewpoints its shape and volume exceeds the universal expectations of stability. Despite its mass proportions, the bridge has found a way to achieve a sense of balance and unity through the repetition and placement of its towers and cables. The Golden Gate Bridge is an example of conquering the difficulties of design. Not only does the bridge provide functional purposes, but a successful aesthetic appeal has also been intricately woven into its imperial construction.

            The city of San Francisco is known for many diverse elements, but the Golden Gate Bridge has earned the reputation as one of the city’s most significant characteristics. Its innovative blueprint is a shining example of a socially successful design. Not only is the Golden Gate Bridge a symbol of the “city by the bay”, it is a symbol of design ingenuity. It is safe to say that I have left my heart in San Francisco, but most importantly, I have left my heart with the design that truly takes my breath away. 

Image Source: http://www.friendskorner.com/watermark.php?src=forum/photopost/data/503/San_Fran_s_Golden_Gate_Bridge.jpg

An Endless Cycle

Any design that can be found in society today will contain an intimate history behind its development. Design is not so much about a product as it is the process. Without the process there is no end product. This progression involves thinking of compositions as well as searching for inspiration. Once an idea and plan has been formulated, a designer will begin constructing his or her design. This is how the end product is constructed. Once the designer feels his or her work is complete, the design will then be vulnerable to criticism.            

            Criticism is one of the most important, as well as dreaded, parts of the design process. When a third party examines a design, a whole new line of communication is opened. Although some criticism will contain a more negative tone, ultimately the evaluation will allow a designer to understand how their design works and why it is or isn’t successful. This criticism will allow the designer to adopt any lessons to his or her practice. Criticism will also allow a designer to justify his or her design product.

            Once the critique has taken place, designers can then accept these suggestions or reject them. If a designer accepts the ideas, then the doors have been opened for creative growth.  Through this growth, a new product can be made or the old one can be changed. This is yet another form of inspiration for a designer—one which is based off of the ideas and suggestions of another. With this inspiration, a new process will begin, and a new product will be created, thus continuing the cycle of design.

 

Supermarket Muse

For a designer, inspiration is everywhere. In order to be inspired one must take the time to take in his or her surroundings. I strongly believe everything has the potential to contain some sort of artistic merit. However, an artist or designer can only take advantage of these additions if they take the time to look outside themselves and find inspiration. This may be as simple as taking a walk in the park and absorbing the natural scenery, or visiting a busy city and taking in all its sights and smells. One famous artist simply found inspiration through food. This man with the supermarket muse goes by the name of Andy Warhol.

            Andy Warhol was a leading figure in the visual art movement known as pop art. Warhol claimed his inspirations for a majority of his artwork came from popular American products. Some of these products included coca-cola, dollar bills, and the infamous Campbell’s soup can. Andy Warhol was the first of his kind to introduce the world to designs surrounding pop culture. Many today still criticize Warhol’s choice of subject matter, disregarding his pieces for artwork. No matter how skeptical others are there is no denying that Warhol was a man of social inspiration. He used images we see everyday in society to create colorful compositions. His outside sources of inspiration helped fuel his creative process, providing Warhol the means of establishing his prestigious reputation.  

Six Steps to Inspiration

            In Scott McCloud’s book, Understanding Comics, he explains about the creative process of comics. McCloud breaks down this design process in the form of six steps. McCloud further discusses how pure art is tied to the question of purpose—of deciding what you want out of art. In order to reach your desired end process, all artwork must essentially follow a certain path consisting of idea/purpose, form, idiom, structure, craft, and surface.

            The first step is the idea or purpose of an artist’s work. This is referring to the work’s content. The second step is form. This is the structure or appearance of a work. The third step is the idiom, or the gesture that the work belongs to. The fourth step is structure, or the arrangement and composition of the work. The fifth step is craft. This is the strategic construction of the work. The last and sixth step is surface. This step is referring to the most apparent aspects of a work.

            Without these steps an artist cannot complete his or her design journey. This is an expedition that requires an intimate relationship between a designer and his or her work.  Any artist or designer in society today, creating any work in any medium, will always follow these six steps whether they realize it or not. It is these methods that allow the creative process to live on and works of art to come to life.  

A Beneficial Language

            After visiting the Hangul exhibit, I felt that I left feeling inspired as well as informed. I was able to learn about another culture visually. Each piece of artwork was not only aesthetically pleasing but it was informative as well. Being a pure visual learner I found myself fully immersed in the language of Korea. The fact that I was able to discover elements of Korean culture through artwork was a personal feat, leaving this successful experience to bring up a very important question: Who benefits from design?

            I admit, the answer I am still toying with. On one hand the audience, like myself, benefits from images every day. In society we run into design everywhere. Whether it is the distinguishing shape of a stop sign, or the package logo of your favorite food, design benefits those who find use and pleasure within its components. Another beneficiary of design is the artist, or the designer. To create an image of personal meaning, allows a designer to embrace his or her artistic freedom. By creating a design, one can also share their “story” with the world. A designer may receive criticism, but ultimately it is that criticism that will allow them to grow as an artist.

            Overall, I believe that both a designer and the audience benefits. Each is given the ability to learn a new language: the language of design. In order to speak this “language” it must be studied and practiced. This language of design opens the door of communication, both visually and mentally. Design walks hand in hand with visual literacy---something that can be learned by simply taking a minute to soak up that which surrounds us.  Design is omnipresent, and if one simply takes the time to look, they will learn a whole new language that society has to offer. 

From Personal to Visual

Hyunju Lee and Phil Choo have generated pictures with words. Both artists have found their creative niche through the manipulation of linguistic elements. The components both artists have chosen to use come from the Korean language, Hangul, which incorporates their historical culture with today’s visual culture. Both artists have found a way to integrate personal aspects of their life and culture into their art. For example, the painting, Dream of a Goose, is a composed of lyrics from a traditional Korean song. By transforming a bit of their Korean culture into a part of visual culture, Lee and Choo have introduced the rest of the world to their personal heritage through design.

            Another painting, Memory of a Grove, was created with similar individual purpose. Lee confesses that he felt confused when reflecting on life, and found hope in the elusiveness of the forest and nature. This piece, reminds me of the painting Quattro Stagioni: Autunno by Cy Twombly. Both Twombly and Lee are examples of artists who use the aspects of nature and personal experience to create an artwork with individual significance. Twombly uses vibrant, colorful, markings while Lee creates a subtler, more organic arrangement that incorporates Hangul font. Each painting not only mirrors natural images, but also captures the visual culture of nature and language through the essence of design. Both illustrations signify something vague and mysterious with the use of traditional and non-traditional mediums. I truly believe that all three artists have transformed nature and culture into a personal, and visual work of design for all of today's society to appreciate. 

The Art of Language

            The exhibit, Typographic Exploration in Hangul, by Hyunju Lee and Phil Choo, can be found gracing the UC Davis campus with its presence this fall quarter. This exhibit not only showcases some visually appealing pieces, but also reflects the intricate workings of foreign culture. Typographic symbols dance among the works of Lee and Choo. These symbols are the beautiful letters of the Korean language, Hungul, each taking on a distinct life form of their own. The typographic assimilation of pictures and words create a variety of compositions, each one more unique and stunning than the next. These two artists have embedded a contemporary twist within their Korean culture and heritage through the use of digital prints to showcase the wonders of their language.

            The manipulation of this native Korean script highlights its artistic beauty and design, something that is commonly overlooked within the use of language. Often, words and letters are disregarded as a part of design. Although there is an overwhelming abundance of letters in the world today, many fail to recognize the artwork behind language. Letters are symbols, and thus a major part of design. The artwork of Lee and Choo emphasize this point.  Symbols, like letters, are the byproduct of a socially agreed upon relationship-- a connection that prevails in society regardless of its frequently oblivious audience.