Assignment 3 - Gradients

Stephen Wilder

Assignment 3 - Gradients

February 18, 2015

SVSU ART 111-01 - Hanson

With this project, we had to create a gradient from 0% (white) to 100% (black).  The second part of this assignment was to take a previous composition and remake it using gradients.

For the gradient portion, the hardest part I had was finding achromatic magazine clippings.  Even with a stash of Vogue magazines "borrowed" from my little sister, I still had to settle for some greens and pinks, especially near 40%.

The second part had some neat effects.  For instance, the gradients on the "F" shape disappear, as the contrast changes from left to right.  What's interesting about this part of the assignment is that it could be done a dozen times and have a dozen different outcomes.  That's just a statement, not a suggestion...

Here's a comparison between the Assignment 3 and Assignment 2 compositions:

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Formative Exercise:

This formative exercise helped set the 50%, and then 25% and 75% values for the gradient project.  My 50% value may be a bit on the dark side, but setting these values early helped with completing the assignment by breaking down the "hunt" for more values.

I was inspired by "digital camo" for my pattern for the gradient exercise.  An example can be seen on the US Navy jet here: 

To accomplish this for my assignment, I made a simple jig out of matboard, shown below.  Cutting the magazine clippings with this jig was not difficult, it actually made things simpler.  Although this whole process was rather tedious, I am quite pleased with the results.

For the sake of conversation, above is the gradient exercise with no colors (desaturated).

Tools, Tips, and Techniques

Here are a few of the tools and methods I've used to complete the cut paper projects for 111. 

These are the most important tools I use - tracing paper, tape, a small stainless steel ruler, single-edge razor, and tweezers. The leather punches shown can be used to make small circles. 

The first step is to transfer the design to tracing paper. 

I do the transfer method for a handful of reasons. This keeps the original design intact as a reference, allows me to incorporate overlaps, and allows shared cuts for more efficiency. 

Before cutting, I tape the magazine page to the cutting board. Stretching the paper as tight as possible is key here. 

With the paper taped down, I then tape the template over top. Notice that I'm using the edge of the page for a "cut" - this saves time. Why make cuts you don't need to?

The video below shows the cutting process. The tracing paper is sacrificial. I try to do short cuts first, and pay attention to the cuts that free the pieces - doing these incorrectly can allow the magazine paper to pull and tear. 

https://www.dropbox.com/s/3m9vc0o89wckmdz/Video%20Feb%2011%2C%2011%2002%2022%20PM.mov?dl=0 

Assignment 2 - Occult Balance

 

Stephen Wilder

Assignment 2 - Exploring Occult Balance

February 10, 2015

SVSU ART 111-01 - Hanson

This project explored occult balance through a large number of formative exercises, culminating in the creation of two finished designs.  Each design needed to have multiple design elements, have good asymmetrical balance, one area of color or texture, and be completely different from the other design.

 

My first design (with orange shape) utilized numerous approaches, including attitude, Gestalt continuity, and grouping. For this design, I took a cut paper mockup, and modified it using computer software, as described below (Optional Exercise 11).  The final design was completed using cut magazine paper, and measures 4"x4" on a 6"x6" illustration board.  With this design, I was able to explore harsh, angular shapes, along with some overlapping and skewing.  This design would not have come to fruition without either the analog or digital processes that went into it.

 

The second design (with blue circle) was all analog.  I had a hard time coming up with interesting shapes in my formative exercises, so for this one, I reverted to the shape mining that was heavily utilized in the first assignment.  All of the shapes in this one come from shape mining (and actually, the same car), and are much more organic and non-standard than the shapes I was using in my earlier exercises. To make this design drastically different, it is more organic, less linear, and has more negative space and less foreground.  This design explores Gestalt continuity to a further extent, and I also explored the concept of grouping by having two intersecting lines, but made from different shapes.  This way, the eye can distinguish between the two.  I also carried one of the "loops" off the page.  The figure/ground reversal was accomplished by using a dominant form in the lower left, and then, to prevent the "landscape" effect, this form was copied into the upper right corner as well.  To make the design more interesting, I also used a non-square piece of illustration board.  This served another purpose as well, cutting down on wasted scrap from this and previous projects - a win-win!

 

In all, this was an interesting project, and the concepts behind it will be useful tools for future projects in this and other classes.  I might actually be enjoying cut paper as a medium as well...

 

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Formative Exercises:

Connections/Attitude

Grouping/Gestalt

Fracture/Figure-Ground Reversal

Hierarchy/Rhythm

Combinations

Occult Balance

This is the progression of the optional Exercise 11 for one of the compositions from the previous exercise. First, shapes were offset and skewed in Photoshop. Next, lines were added to break up the grid, circles added, and an orange field drawn in Illustrator. Rotations, crops, and rearrangements followed in the remaining digital transformations. The final was completed in cut paper.