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.