A book exploring composition and contrast.

2. The process of designing is transformation and realization of myself.
I find that is me, but also not me. I am shocked by the power of
freedom here, because everyone has different way of expression.
Such atmosphere gives me courage to say what I want.
I was so confused about composition and the variety of elements, so
I kept thinking. I am so glad that I can work on something that I really
like. I am enthusiastic about design, because it is communication
between me and the outside. There are so many meaningful but
painful processes of exploitation, since I would like to learn more
about myself and present every different piece of me to the public.
Thanks for suggestions from my classmates and professor, I revise
works and change way of thinking. Critique to me is a chance
to absorb and discard. Taking notes, giving others opinions and
listening to others’advice give me space and time to think. Digestion
and application lay solid foundation for me to create. The pressure
from myself and people around me pushes me to change. I want
to turn every special moment in my body into my own signature.
Critical thinking and self-exploration led by design are what I like.
Through learning and application, the principle of graphic design
already becomes part of my mind and I finally find my own way to
use them. Learning and failing are both necessary parts for me.
Although I am easily influenced and distracted, I discard and regain
much energy and interest from the whole project with different
sights. Sometimes I can not finish the assignment, since I only want
to show the best part of me. However, I understand that I should
expose the whole body of myself and reanalyze them into new parts.
I am delightful that I enjoy process more than the result.
I N T R O

3. C O N T R A S T
P A I R S
S T E P I
Using 3-20 shapes (circle, square, triangle), demonstrate radical contrasts of each of
the six principles of design listed below (scale, direction, texture, form, space and
weight). Create pairs of oppositional, 8”x 8”compositions using traditional or digital
processes. You must choose one shape to use throughout all 12 compositions (6
pairs). The shapes may be any variety of sizes, but they must be the same proportion.
s c a l e

4. d i r e c t i o n s p a c e

5. w e i g h t f o r m

6. t e x t u r e
A S Y M M E T R I C A L
C O M P O S I T I O N
Create 12, 8”x 8”compositions using your primary shape only (from Step I). Explore
the widest variety of asymmetrical, compositional schemes by concentrating on the
placement of the focal point of each compsition. Utilize visual contrast (especially
contrast in scale) to strengthen your compositions. Shapes may touch, overlap or
bleed off the edge, however, shapes may not rotate! Create your 12 compositions
according to the following specifications. Use Illustrator only.
• 4 compositions using 5 shapes
• 4 compositions using 9 shapes
• 4 compositions using 3-20 shapes
S T E P I I

8. D E - S W I S S
Select 2 posters by either of the following historic Swiss graphic designers, Josef
Müller Brockmann or Armin Hofmann. Analyze each poster and identify the visual
contrasts used. Using digital tools, remove the visual contrasts by altering the existing
elements. You may not add or delete elements, you must only adjust/alter them. Print
both the original and you new altered version and present side-by-side.
S T E P I I I

9. J o s e f M u l l e r - B r o c k m a n n
B e e t h o v e n , 1 9 5 5

10. A r m i n H o f m a n n
G i s e l l e , 1 9 5 9

11. F O R M
M A K I N G
A. Create an archive of 50 elements/objects. Choose your elements carefully, focusing
on their visual potential. Your archive should have a range of unusual forms, textures
and materials. Approximately 25 of your elements must be 3-D and the remaining 25
must 2-D. Search for elements around school (super shop, trash cans, grounds) and
around Valencia and Newhall. Elements may be purchased as well. Hardware stores
are a great source. Be resourceful/inventive. Keep your archive in a box or container;
you will add to it throughout the project.
B. Using only the elements from your archive, create 20, 6”x 6”ABSTRACT, composi-
tions. Create the most dynamic compositions you can by photocopying and cropping
only. You may alter your archive elements/objects by cutting, folding, bending, etc.
S T E P I V
p a p e r c l i p

12. h o l e p u n c h d o t s
w a t e r b o t t l e

13. s t a p l e p l a s t i c b a g

14. s t a p l e , c o t t o n b u d w a t e r b o t t l e

15. p l a s t i c l i d p l a s t i c b o t t l e

16. c u p c a k e p a p e r p i n e c o n e

17. p l a s t i c l i d
D I G I T A L
T R A N S L A T I O N
Select 4 of your favorite compositions from Step IV B., and using Adobe Illustrator,
create 3 different, 6”x 6”digital translations for each. DO NOT create a digital duplicate
of the original composition. Instead, use the original composition as a foundation
or“grid”to create new compositions. Visually re-interpret the shapes, elements and
composition of the original with a focus on inventiveness and variety. In this step,
you’re creating unusual and inventive forms with digital tools. Create a series of 3
that are unified but varied. You must maintain the compositional structure AND
orientation of the original: do not rotate.
S T E P V