First Work in Adobe Illustrator, Name:
Dakota means “a friend”, so I chose to to craft a friendship bracelet. The bracelet and the intertwined hands of my friend and I combine to create the metaphor that symbolizes my name. My best friend is very important to me and is a big part of how I live my life. He reminds me every day to show generosity through my actions. When I am not spending time with him or my family, who also plays a significant role in my life, I enjoy playing volleyball, swimming, caring for my pets, and making cards.
First, I translated the photograph I took into points and lines. This made it evolve into an abstract design on Illustrator with no real depth or volume. The yarn is a continuous line and the beads are the points. (Point: a pair of x, y coordinates. Line: a series of points.) I drew the thin, two-dimensional line of yarn without using anchor points so it was more representative of a free-flowing piece of yarn. The bracelet makes up the foreground of the image and the hands, steps, and light source fill in the background of the image. This way most of the focus was on the real metaphor– the friendship bracelet.
I incorporated layers from my favorite recreated images into a single abstract design. The bright reds on both sides of the work contrast the dull grays of the steps and bricks, and the harsh blacks of the shadows. Depth is added by making the steps and bricks three dimensional with repeition. I found that the spatial translation of the single column and stacked bricks behind it create eye-catching negative space.
Working with one, two, and three-point perspective involved understanding the relationship between the objects in the foreground, midground, and background of the image I created. All three layers interact in the same space, but have different vantage points and horizons. Contrast in the size of the objects in each layer conveys depth and movement through each perspective while maintaing balance. When brought together cohesively, these layers compose an interesting and more realisticly observed piece.
Pen Tool/Be’zier Curve:
Be’zier curves, although difficult to master, convey fluidity and motion through smooth curved lines. These curves and lines make up the main components of this piece. Be’zier curves are present in the train tracks, the edge of the quilt and the shadow it casts, the grooves in the basketball, the tunnel through which the train is passing, and the goggles. I depicted the space below a child’s bed through the perspective of someone looking underneath it to see what is hidden there. The primary colors of the train provoke an elementary-esque feel as well as the solid colors. Although the image lacks three-dimensionality there is an imposition of a deeper space. The smoke billowing from the train’s stack makes it seem as though it has come to life, giving the composition a sense of imagination. This shows that the pen tool can be used for more creative works than writing.
Nature Poster–Rhythm and Balance:
The imbalance between light and dark elements in the composition moves the observer’s eye from the darkness amongst the trees to the light-colored mushrooms and then to the text below. Left to right symmetry is recognizeable within the piece and helps it achieve a sense of balance. “Although pattern design usually employs unbroken repetition, most forms of graphic design seek rhythms that are punctuated with change and variation” (Lupton and Phillips). There is a ryhtmatic and consistent line of varying mushrooms and trees and multiple focal points (such as the large tree in the center, the mushrooms, and the text surrounded by negative space) that move the viewer’s eye through the piece.
Color and Relationships:
Repetition is the basis of a pattern. Patterns unite diverse forms into a cohesive design. They can be firmly structured or irregular and organic, like mine. Complexity and simplicity go hand-in-hand in the creation of patterns.
In addition, grids allow designers to align elements precisely and provide an efficient source of structure during the creation of a piece. Designers can fill their space more effectively when they use a grid to divide it. Grids can be handy tools for developing patterns.
Color serves many purposes in design. It can convey a mood and create an intense environment. Colors are not seen the same by everyone and carry different connotations in various cultures and societies. Colors have relationships amongst themselves (shown on the color wheel), which can be manipulated to alter the appearance of a color’s brightness and hue. Understanding how colors interact to intensify or diminish each other helps artists create certain climates and control what the audience perceives from their work.
I made use of primary, tertiary, complementary, and analagous colors and value and intesnsity changes in my matrix painting. The negative space in my composition simplifies the piece. By using similar intensity changes, two of my classmates and I were able to integrate our pieces into a single, unified composition. This taught us the relationship between the color palets of our work and how they complimented each other.
“A design whose elements all have a similar size often feels dull and static, lacking contrast and scale” (Lupton and Philips).
Scale refers to the relationship between the realistic dimensions of an object or the representation of an object and what it depicts. Varying the size of objects and their placement in a design can create depth and movement. In an attempt to create a humorous design for a t-shirt, I added oddly scaled, out-of-place items to my profile and exaggerated the contrast.
“Working within the constraints of a problem is part of the fun and challenge of design” (Lupton and Philips).
A module is a fixed element within a system of structure. Endless possibilites of forms exist within parameters of the system. The rubkiks-cube -inspired module I crafted is three-dimensional and engaging.
Motion takes place in time and can be literal or implied. During design of a composition, a designer must examine how components like colors, typefaces, illustrative components, and scale interact over time. Cropping an object or imposing a diagonal can create movement within a still image, like the slant of cubes I included in my piece.
Rules, such as grids, provide a framework for design without restraining the artist. I have depicted a cohesive balance of rules and randomness in my piece. Primary colors symbolize simplicity and the solved cube represents the world making sense or being solved. I left my image trace in entirely black and white so it lends itself to the background while the text and modular design become focal points.