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Unity and variety are two key principles of design. Unity refers to congruity among all elements of a design achieved through repetition, continuity, enclosure, or a shared theme/association. Variety provides visual interest within a unified composition. An ideal design balances both unity and variety - unity provides control while variety prevents lacking interest. Unity and variety are important in theatre design and are the backbone of entertainment more broadly.
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Fat elightingguide
The document provides guidance on the process of stage lighting design. It outlines the key steps a lighting designer would follow, including: 1) Analyzing the script to understand technical requirements and creative vision; 2) Consulting with the director and other designers to coordinate concepts; 3) Plotting lighting areas and special effects needed on a floor plan; 4) Determining the general lighting pattern and instrument placement based on the set layout and theater space. The goal is to create an environment that supports the action and communion between actors and audience through strategic use of light. Coordination with other designers and an understanding of theatrical principles are emphasized.
Habits that block creativity
1) Habits and thought patterns developed over time can block creativity by making us rigid in our thinking and less open to new ideas. Our tendency is to rely on what is known and familiar rather than exploring unfamiliar or unknown options.
2) As we gain experience, we develop mental categories to organize information, but these categories can also prevent insight if we only try to fit new problems into existing frameworks rather than considering wholly new approaches.
3) Many common obstacles to creativity arise from social and psychological factors that discourage behaviors like asking questions, taking risks, being different from others, or maintaining an openness to uncertainty. Overcoming these blocks requires recognizing how our default ways of thinking can interfere with creativity.
Linear non linear thought
Linear thinking is straightforward and follows a direct path to solve problems, while nonlinear thinking considers alternative approaches and hidden meanings. Fuzzy logic allows for ambiguity and dealing with true meanings that are not clearly stated. The document discusses how these different thought processes - linear, nonlinear, and fuzzy logic - are used in everyday life and thinking. The author thinks nonlinearly to plan solutions but linearly to implement them, and uses fuzzy logic to understand true meanings behind ambiguous statements.
Principles of visual perception
The document discusses principles of visual perception in humans and other animals. It notes that while humans rely heavily on vision, the way we perceive the world is an active process of interpretation rather than a passive recording. Different animals perceive the world in very different ways depending on factors like the structure of their eyes, visual acuity, and the portion of the brain devoted to vision. The document also discusses how humans organize visual information through unconscious categorization in order to simplify perception and make the world more meaningful and predictable.
Visual perception
This document discusses several factors that can influence visual perception, including:
1. Personality traits like tolerance for ambiguity and impulsivity vs reflectivity.
2. Socio-cultural influences like gender, occupation, education, and cultural background that shape how people interpret images.
3. Contextual factors like mood, expectations, and motivations that can cause the same event or image to be perceived differently by different individuals.
What is imagination 2
This document summarizes an episode of "The Infinite Mind" radio program about imagination. The episode features interviews with psychologists and experts on childhood development discussing topics like the origins and importance of imagination and pretend play in children. It also includes segments with guests from the fields of education, children's literature, and video game design discussing how imagination is fostered and applied in their respective domains.
What is imagination
This document discusses the role of imagination in problem solving, desires, and managing people. It defines imagination as the ability to form mental images of things not physically present and notes that imagination allows one to face difficulties resourcefully. The document emphasizes that every idea is born in the imagination and encourages tapping into one's imagination by visualizing solutions to contemplated changes with vivid mental images to fully spark the imagination.
Barriers to idea generation for collaborative problem solving
This document discusses barriers to creative idea generation during collaborative problem solving. It aims to identify barriers and develop a formula to determine individuals' Brain Dominance Profiles (BDP), which indicate their thinking preferences. The document reviews how BDP relates to different processing modes and can influence idea generation. It suggests that understanding BDP and using a whole-brain approach can help maximize creative potential and overcome barriers during collaboration.
Assignment #10 composition
This document provides instructions for a two-part visual arts assignment combining the elements of composition: balance, emphasis, and continuity.
Part A instructs students to create a composition using four vertically arranged cut-out photographic images glued to a cardboard base to demonstrate balance, emphasis, and continuity. The images are to include a background, mid-ground object, foreground object, and person.
Part B requires students to submit a one page typed rationale in bullet points explaining how their composition uses balance, emphasis, and continuity. The model and rationale are due on the date listed in the course syllabus.
Assignment #9 unity
This document provides instructions for a two-part assignment on unity in composition for a visual imagination class. Students are asked to create a collage (Part A) that demonstrates visual and intellectual unity through techniques like repetition, continuity, enclosure, harmony, and common themes. Specific criteria are outlined for the collage, including size, layout, number of cutouts used, and labeling. Students must also submit a rationale (Part B) explaining how their collage achieves visual and intellectual unity in under one page. The assignment is due according to the date in the class syllabus.
Assignment #8 texture
This document provides instructions for an assignment asking students to write a short story and create a corresponding texture plate to allow blind people to experience the story through touch. Students must write a narrative describing 10 notable events that can be supported by different textures adhered to cardboard. The textures should be arranged in a logical sequence to guide a blindfolded classmate's hand along the plate as they read the story aloud. An example story is provided that references textures like an ID card, door handle, bump on the forehead, fish scales, waterfall, bullfrog, drinking straw, slithery sensation, tentacles, and more.
Assignment #7 color harmonies
This 3 sentence summary provides the key details about the document:
The document outlines Assignment #7 which asks students to illustrate 6 different color harmonies - including monochromatic, analogous, complementary, split complementary, double complementary, triadic, and tetradic - using watercolors in a grid format on Bristol board. Specific instructions are given for rendering the project, including outlining a border, using a 2x3 grid, labeling the color harmonies used, and meeting criteria for accuracy, neatness, and properly applying the watercolors. Students are encouraged to get feedback but must complete the assignment themselves.
Assignment #6 shape shifting
The document describes an assignment to visualize the process of physical change through shape shifting. Students are asked to show the metamorphosis of an inanimate object into a living thing, or vice versa, through a sequence of 9 drawings on a grid. Specific criteria include rendering the drawings on Bristol board with a grid and title. The drawings should demonstrate a transformation from one form in the top left square to a different form in the bottom right square through the 9 squares.
Assignment #5 quality of line
This document provides instructions for a two-part assignment exploring the emotional qualities of lines. For part A, students must draw four different lines within a grid on bristol board to represent specific emotions they have felt. The lines should be abstract and occupy most of each square, expressing emotions through line qualities alone rather than symbols. For part B, students must physically act out one of the lines from their drawing for the class in a single gesture. The assignment aims to convey emotion through abstract lines and physical gestures.
Assignment #4 point of view
This document provides the instructions for Assignment #4 titled "Point of View" for a Visual Imagination class. The assignment asks students to render a 9" x 10" Bristol board with a square border and a 3x3 grid within. Students must choose either to draw 9 cartoon-style line drawings from unique viewpoints, or photograph and trace 9 objects from non-typical angles, fitting each into a 2" x 2" grid square. The drawings should be done with extra fine point Sharpie after a pencil sketch and transfer. The goals are to find new perspectives on familiar subjects and meet the listed criteria accurately and neatly.
Assignment #3 pattern thinking
This document provides instructions for Assignment #3 on visual imagination. Students are asked to research a decorative design motif from a specific time period and culture, refine an existing motif to make it their own, and use the modified motif to create a repeating pattern within a 9x10 inch grid. The pattern must follow strict guidelines, including having the motif continuously rotate or mirror across all nine grid squares while touching adjoining motifs. Students will receive credit for meeting the criteria, drawing accurately, and being neat.
Assignment #2 assignment format
This document provides instructions for Assignment #2 for a visual imagination class. It explains that assignments will follow an assignment format to provide parameters. The goal of this assignment is to learn how to complete the assignment format, which involves rendering the project on 9x10 inch Bristol board with a square border drawn in Sharpie. It lists specific criteria like including the student's initial and last name on the right side in the specified lettering and spacing. Students are encouraged to ask for help but not have others complete the project for them.
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22 unity and variety
- 2. In the theatre we have used the term design (N) to describe a product of planning or organization. Scene, costume, lighting, make-up, stage picture, character or choreography products are typically understood as compositions, that is, design that has multiple and combined components. All compositions have two prerequisite conditions: 1. Unity 2. Variety
- 3. Unity in design means that a “congruity” or “bond” exists among all the elements of a design. In other words, all the parts of a design (N) belong together due to some connection in space, theme or relationship. In the theatre we commonly use two types of unity. 1. Visual Unity 2. Intellectual Unity Visual unity is most commonly attained through: a. Repetition b. Continuity c. Enclosure e. Harmony
- 4. Repetition of similar elements such as line, shape, color texture, theme etc. Repetition of line and motif (theme).
- 5. Repetition of multiple visual elements such as line, shape, color, movement, etc.
- 6. Unity through shape repetition.
- 7. Since people (actors) share common physical characteristics, such as, arms, legs, clothing, movement etc., actors on stage in themselves hold a degree of visual unity.
- 8. Continuity determines the visual arrangement and flow within a compositional design. It takes us from one station to another.
- 9. Suggested lines achieve unity through continuity.
- 10. Continuity provides flow and rhythm to compositional design.
- 11. Harmony is a term that refers to the “agreement” of various visual elements such as colors, textures and materials.
- 12. In the theatre, costumes, sets and lights abide by color schemes which often harmonize so as not to be disturbing or jarring.
- 13. Enclosure: when dissimilar objects or shapes are placed within a framed or confined visual field, they become unified.
- 15. The proscenium is a unifying element providing enclosure. Unusual enclosure . Suggested enclosure
- 16. Intellectual unity is attained through a. sharing a common theme b. creating a strong bond through association
- 17. Unity attained through the repetition of visual theme (motif.)
- 18. Thematic unity reinforced by bonds of association.
- 21. Fergie Will. I. Am Black Eyed Peas Taboo Apl. De. Ap
- 22. Mike Gordon Page McConnell Jon Fishman Phish Trey Anastasio
- 23. Kelly Rowland Michelle Williams Destiny’s Child Beyonce Knowles
- 24. Intellectual Unity African American theme, supported by a harmonious sepia tone background
- 25. Intellectual Unity - peer group, activity. Repetition of numerous components.
- 26. A composition devoid of unity will appear chaotic or haphazard. A totally unified composition without the relief of variety will nearly always lack interest. Therefore: UNITY represents the conscious control of variety. VARIETY provides visual interest within unity. The ideal composition is attained by a balance of both of these qualities.
- 28. Thematic unity with some variety.
- 29. Unity and visual interest. Simpler compositions can also have less visual interest. Greater variety might also create more visual confusion and restlessness.
- 30. Variety - high amount yet maintaining some visual focus in the central figure.
- 31. A Las Vegas variety show brings numerous different performances to a single stage.
- 32. Jackson Pollock paintings are often criticized as lacking order and unity.
- 33. Variety of this type is regarded as total disorganization in architecture.
- 34. Unity and Variety is the backbone of entertainment.