With Design in Mind: October 2009

Monday, October 26, 2009

Testing...

Tuesday, October 13, 2009

The photographs go as labeled

1) Design 1 option

2) Design 1

3) Design 3

4) Design 4 option

5) Design 4

Design one's goal was destroying the identity of a square. The piece was totally non-objective. I tried to create a piece that was both interesting to look at and visually pleasing without reminding the viewer of anything in particular.

Design two's goal was the same as design one, however a different device or strategy was used.

Design three used all the pieces of a 4 inch square for an abstract design, demolishing the original square.

Design four asked for a non-objective design which retains the quality of a square. Exciting design with variety and complexity was key, while still hinting at the square.

Monday, October 12, 2009

" Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do. If you haven’t found it yet, keep looking, and don’t settle. As with all matters of the heart, you’ll know when you find it." -Steve Jobs

Milton Glaser Draws & Lectures

I'm a frequent visitor of Vimeo. I thought it was ironic that this video popped up after Carolyn's lecture on Milton Glaser

MILTON GLASER DRAWS & LECTURES from C. Coy on Vimeo.

Marks Exercise

One of our first projects, the marks exercise was designed to make us expand upon our designs. We were encouraged to create abstract marks, which would signify our name, and display those marks with different emotions or styles. It challenged students to question their designs and make cognitive decisions about their designs.

Ex. What have I not done? How can I make this look different from my other designs?

I tried to have a varied degree of moods or emotion in each image. From energetic to calm and rigid to spontaneous, the design's styles evoked different emotions. Another focus, figure-ground relationship played a key role in the composition of the four pieces. Students were asked to have a wide variety of figure-ground relationships. I tried to this as well as figure-ground reversal.