Sequential Process

The class first began with the creation of simple line studies with the objective of communicating three specific variables; balance, progression, random/regularity.

Balance:

Progression:

Random:

Furthering these compositions, each study was then combined with another to make a new composition, still keeping the three variables in mind. Within this part of the process, Ian (assigned partner) and I found that our first round of combined line studies weren't very visually interesting due to the simple approach we took. Because of this, we did a second round of combined iterations which we felt would be more useful within the project.

First Round:

Second Round:

From this point, the class focused on manipulation of the line study through the use of projector, scanner, photocopier and camera. Using these tools, the straight line studies were translated into diagonal and curved studies.

Scan:

Photocopy:

Projection:

These studies were then paired with line photographs of Kansas City in the hopes of creating visually pleasing juxtapositions by finding relationships between the two compositions.

SEQUENCE:

After finding connection/juxtaposition pairs, refinement, copping and framing of certain compositions became necessary. To illustrate process I chose one that I included in my final book.

First, I started with two basic line studies, random and balance.

These studies were then combined (this particular study was done during the first round of iterations):

After shooting the photograph of this study projected, I cropped the image to fit the desired photograph that I found had a potential relationship with and began the first round of refinement by re-drawing it on tracing paper. This was done around 4-5 times to achieve good line quality and, on some studies, controlled curve.

This was then scanned into the computer and vectored in Illustrator.

Finally, I was ready to pair it with the chosen photograph and put into a final composition. (In the final book the pair was seen reflected from its original format to combine visually with the rest of the compositions).

I learned a lot from this process as a whole. Not only about different aspects of creating compositions and juxtapositions, but about the movement from one aspect of the assignment to the next. Starting off with simple line studies, it was difficult for me to see where the project was leading. This helped to focus my creativity into one venue (each individual composition), however, as the book progressed and compositions were combined and manipulated, I began to see the process leading into the creation of the actual final book which helped to tie all of these components together. I feel that each aspect of the process had its own element of design that, when joined, cohesively formed the final project while at the same time had individual principles that I was able to learn from and will apply to future projects. These include; use of digital and traditional tools (e.g. Illustrator, camera, projector, scanner, tracing paper, pencil, etc...), cropping/framing of compositions, arrangement of graphic space, creation of sequence/juxtaposition and work that could be seen as a narrative as well as relating to time. Going into the environment and photographing found line studies throughout the city added another valuable division of the process. Getting outside of my own ideas of creation (and out of studio) was very helpful in the development of more organic compositions as well as building a fresh and exciting aspect to the project. This, in turn, helped me to put into practice the idea that creation doesn't always have to come from within one's own mind, it can and should be gathered from inspiration found surrounding oneself (essentially what Paula Scher speaks about concerning NYC in her short video "The Geography of Design"). Continuing with this same thought, it is important to put practice creation outside of the potentially exclusive digital world. Refining compositions required sharpening my personal hand skills, specifically when tackling curves, and practicing these controlled line drawings was a good lesson about the developent of a design within the context of the process. Furthermore, the addition and subtraction of elements of specific compositions within the refinement process forced me to look at each study or manipulation and make a conscious decision on what makes a composition weak or strong.