Center of Attention

Last week, we wrapped the research phase for our color study. This week we dove into the design phase. By the end of the week, we sought out our first set of critiques.

The design is constrained in a six inch square. The center should draw the eye so that when we add color the work will dance. We have been advised that designs based on shape rather than line will create color collisions of greater interest. 

To create the central interest point for my design, I chose the long oar from a Viking dragon boat as my main motif. In the sketch program Adobe Fresco, I established the length of the oar first then created the paddle shape. I then arranged the oar blades slightly off center and chose a pattern that repeats twelve times radially so that I could play with groups of threes and fours.  

 

Next I modified every other paddle to a flatter shape whose dimensions were constrained by the longer paddles. This revision increased the volume of the centerpiece of interest. Next I concentrated on the outer edge of the pattern, added a figure that appeared to strain as they held the end of the oar. Intending to repeat the pattern of the figure with circular symmetry I quickly decided not to repeat the circular symmetry of the oars. Instead I altered the pattern so that each figure could be interpreted as either holding one of the oars or swimming between them. To add a sense of depth and mystery, I gradated the transparency for each sets of figures. 

I completed an initiatl draft design by adding abstract representations of boats. From a distance, the draft composition has a floral appearance. Up close, there is more dynamic story. 

At this point, we took a break in studio to give each other a status on the direction of our individual designs and to collect constructive critiques. Overall, the reaction to the draft design was positive. I was pleased to learn that the objects were recognizable in context. People saw figures holding onto oars and other figures swimming. Some even saw the more transparent figures as ghosts, adding a sense of drama to their interpretation. I was encouraged by my peers to try a simple representation of the boats and to use more shapes, less lines.

As part of my status check, I volunteered that, in the next stage of the design, I would add a wave pattern. One peer suggested that I keep the patterns simple and that I stop there instead of adding sea life to the design. My instructor echoed this advice and also suggested that I add color to the background knowing that color would change the visual interpretation of the design. 

By the end of studio, I had a first revision in Adobe Fresco that included a sea blue-grey background, a new representation for the boats, and added weight to the long handles of the oars. Instructor Gleim noted his preference for a version that altered the weight of the oar handles so I added that note to my list of possible revisions. 

Later that evening, I added the wave pattern and adjust the oars to add distinction between the different designs. I flirted with adding sea life represented simple geometric shapes near the four corners but removed them to keep the viewers attention centered.

Now I haven't moved the design to Illustrator yet but, in Adobe Fresco, I have played cautiously with color. Immediately the consequence of choosing a slate blue became clear. I hold a new appreciation for the wisdom behind our research dive on color palettes that we performed last week. I drew actionable ideas from that research by noting the foreground colors others selected to set against an analogous blue background. All those Norwegian travel posters with mountains in the background and bright red houses in the fore proved especially helpful. 

As I altered the design around color, I requested additional critiques from others. I sought out first impressions so that I could identify choices that steered the design off course. I've designed one pleasing color design, but for now the last version I will share from this week's tinkering is a version where most of the foregrounds elements are either black or white with various levels of opacity against a neutral background. From this baseline design, I will derive the recolored versions using three distinct color palettes.  

Overall I'm pleased with where the design is. I will likely modify serveral choices made in Fresco as I move the design into Illustrator. If I have time, I will draft several alternate versions of the swimming figure. 

Before I work with color further however, I must complete the week's exercise of reordering color palettes based on value and chroma. Based off of the Munsell Color System, I believe this exercise will inform me on the limiting constraints of the colors available within a particular color harmony. 

Here we go. This is getting fun.