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Design 3: Visual Organization and Information Design

Organization Systems 2

Last time we touched upon the idea that the mind structures all fields into four primary types of structural symmetry namely; Bilateral, Rotational, Iterational, and Dilatational structure. Equilibrium within a field is achieved through the use of these structural systems on a continuum of Symmetry - Asymmetry.

We went into some detail regarding Bilateral structure.

Let's now address Rotational and Iterational systems used when organizing information.

Rotational Structure

Rotational structure is an ordering system wherein all the sensations of a field have a relative relationship to a single point, or origin. In a rotational field of absolute symmetry, the focal point or origin point is typically found in the center of the structure, while the distribution of sensations rotate, or radiate, outward in a logical and expected manner. Identical sensations are arranged in a concentric fashion around the focal point of origin. Absolute symmetry is lost in a rotational field if discrepancies are introduced within the regularity of sensations that relate to the focal or origin point.

Rotational Structure Examples

Brittish Petroleum Logo

Quilt
Rebecca Scattergood Savery, 1839
Cotton, 108 1/2" x 117 1/2"

Ethan Suh uses the principle of closure in a rotational structure.

Yeo Hyun Ahn, Graphic Design MFA Program, MICA (Spring 2006) Faculty: Ellen Lupton This example uses an asymetrical composition with iterational structure comprised of the similarity patterns and proximity of forms to establish levels of visual density.

Below is an example of rotational and bilaterial structure used to communicate the information about an exhibition at the Basel Art Musem.

Theo Eble/Sidney und Harriet Janis Coll., for the Kunsthalle Basel, by Peter von Arx, 1970

In this example of the design a CD case interior notice how the rotational structure works in tandem with the actual disc design. All of these visual elements are working togehter in a rotational and in this case bilateral structure.

Below is an example of rotational structure in an information graphic created by Bill Marsh from the New York Times for an article entitled The Blame Game. It illustrates the commentary of blame between various public figures, in regards to the institutional failures made in response to the disaster in New Orleans.

View larger image

Additional examples of rotational structure and gestalt http://www.ritsumei.ac.jp/~akitaoka/rotate-e.html

Iterational Structure

Iterational structure is an organizational system that utilizes a repetition of sensations to create order via pattern.

Iterated sensations that are identical and consistent in both Similarity and Proximity will create an interational field that is of absolute symmetry. The introduction of variations or discrepancies in either the Similarity or Proximity of sensations will create varying levels of asymmetry.

Below is an exmaple of a Swiss poster entitled Tote Bäume, by Niklaus Troxler, 1992. It uses simple contrasting colors, similarity, proximity, and continuance all to create an iterational structure.

The simplicity of the design underlies it's powerful visual impact.

Tote Bäume, by Niklaus Troxler, 1992

Bridge Riley, Black to White Discs

Chuck Close, Phillip
This portrait of Phillip Glass uses iterational structure with similiary and proximity to render the portrait.

A collage made from the portrait of nearly 1,000 dead US Occupation Forces In Iraq. Artist unknown.

News Map: http://www.marumushi.com/apps/newsmap/newsmap.cfm
This interface taps into Google's news engine, and renders the data based on number and popularity of articles. It uses Similarity and Proximity and renders an asymmetrical dynamic composition which provides rich information about news and events in the world.

Das Labyrinth, by J.B. Levy, Basel
For Buchhandlung/Galerie, 1987

Lord of War movie poster uses iterational design with similarity as the primary method of rendering this image of the actor Nicolas Cage.

Jeremy Botts, Graphic Design MFA Program, MICA (Spring 2006) Faculty: Ellen Lupton. This is an interesting example of iterational structure using visual tactics such as proximity, similarity and transparency.

Robert Lewis, Graphic Design MFA Program, MICA (Spring 2006) Faculty: Ellen Lupton

In this next example look at the upper right corner. A simple grid system of dots (circles) are all equal in size, but their proximity to each other and the impact of closure on the figure/ground space relationships creates a dynamic iterational texture in the design.

In this next example you will see how similarity, scale, and proximity work together in an interational structure to create motion, movement and emphasis in a design.

And finally in these last two examples you can see how rotational and iterational can work together structurally.

Lee Yong Seuk, Graphic Design MFA Program, MICA (Spring 2006) Faculty: Ellen Lupton

Detail image of a flower from organicimagelibrary.com

Detail of a Chuck Close print.

When you are working on your assignment this week, consider how you can use both interational and rotational structures in tandem. Consider how this might impact the photograph that you start with as a departure point for your design.

Class Activities

Iterational Image

Open Adobe Illustrator and create a new document and layout an 60x60 pica (approx 10x10") square. Now establish a grid as a guide for your work. Each square in the grid system should be no smaller than 5x5 pica, and no larger than 10x10 pica.

Go to Gettyimages.com and search for an image, it should be of bilateral structure and may be asymmetric. It may be black and white or color. Save the image to your desk top.

http://creative.gettyimages.com/source/home/homeCreative.aspx

Open this file in Photoshop and if it is a color photograph, change the image to grayscale. (Image>Mode>Grayscale)

Change the contrast of the image to 50-70% (Image>Adjustment>Brightness/Contrast)

Save your file.

Return to your illustrator file, create a new layer below your grid and place the altered photograph that you just manipulated in Photoshop.

Create another layer above the layers containing the grid and photo, and begin to use a repeated shape of a single color (black, white or dark grey) to fill in the dark areas of the portrait using the grid squares as a guide to your structure. Consider using a pattern in your design. Think about proximity and the power of similarity to generate iterational structure.

Once you have created the composition, hide the layer containing the grid and the photograph so that you are left with just your pattern of shapes used to fill in the dark areas.

Now that you have a basic area established begin to manipuate your design to emphasize the idea of iterational structure. Use the Gestalt principles we have discussed, i.e. Figure/Ground, Similiarity, Proximity, Continuance. Make a decision whether your composition will be symmetrical or asymmetrical, consider where you want to draw your viewers eyes around the composition.

Save your file and print it out later and add to your journal.

Example of progression of task.

Example source file: gridfacetemplate.ai

Assignment

Iterational and/or Rotational Composition

In this weeks assignment I would like each of your to use as many of the Gestalt principles of visual organization to create a complex composition which uses iterational and/or rotational structure as the basis for your design.

• Choose a photograph for example a portrait of a famous person, a landscape, an interior, etc. Find an image that has some dynamic qualities to it, either within the content or within the composition or both.
• Crop it to show an interesting aspect of the image.
• Using a scanner, turn the photograph you selected into a digital file. (Jpeg or Tiff). Using Illustrator or PhotoShop, divide the image into separate grid sections in a 60x60 pica square. The grid cells should be no larger than 5x5 pica and no smaller than 1x1 pica.
• Overlay a grid as a guide to introduce new visual elements that translate and transform your image in the grid using the repetition of simplified shapes in the grid system.
• Manipulate your image cell by cell within the grid by simplifying the color and shapes of the parts of grid.
• Print out the image in color and mount on board as indicated in the presentation guidelines for class.
• Bring the original image and the final design with you to class.

Considerations:

Don't be afraid to change the colors within the image, but as you are doing this look at the tonal qualities of your image. The best way to render your image is to simplify the image into the basic dark and light areas and establish a gradiation of tones that you can use systematically to organize your composition.

Consider adding another layer of information using continuance, or iteractional elements which are radically different from the image which is in the layer below.

If you want to accentuate a rotational structure manipulate the grid cells out from the center (eg. using concentric circles rotating out from the center) Remember that rotational structures have a central axis point. Each cell acts as a form of interational structure which you can use to build up your image.

Consider using an an asymmetric rotational structure to add more visual emphasis into one area of the design.

Using similarity by repeating the same shape to fill in the dark and light areas of the image. Use proximity to render the image.

Think about how proximity of similar shapes can bring more emphasis into the darker areas and less in the lighter areas. Pay attention to the amount of light and dark within each cell of the grid and each area of the whole composition. Think about how these darks and lights will impact how you want the viewers eye to travel across the design.

Look at this Chuck Close print of Lucas Samaras's face. Close is using a grid system which uses contentric circles and a radiating grid lines. Within each cell of the grid the artist usings tone and color to render the image of Samaras. Look closely at the detail, and you will notice that much like Pointalism, the up-close view of this image begins to break down into it's components or parts yet when we step back and look at the whole of the gestalt, the image comes into focus.

Chuck Close, Lucas/Woodcut, 1993
Woodcut with pochoir
46 1/2 x 36"
Edition 50

Detail

Another very different example to consider shows how iterational structures can be introduced into complex images to add a new layer of activity. Look at these images by artist Peter Schuyff. You will notice how the image below is separate from the shapes on top of them. There is a tension created between the two elements in each image and the illusion of depth and visual movement is enhanced by the relationship / tension between the two layers of visual information.

Self Portrait, 2005
gouache on drawing

Restrictions

Create a 60x60 pica square grid comprised of 1x1 or up to 5x5 pica cells.

You may use a computer (Scanner, Adobe: Photoshop, Illustrator) to do this excercise.

(Believe it or not!) Many students have found this project goes more smoothly when done by hand.
If you choose to do this by hand, you will need to create a grid over the original image, and transfer it to a 60x60 pica grid with the same restrictions for grid size as indicated above. To do this by hand see sugggested materials list below.

Materials

• Design in Photoshop, Illustrator and/or Indesign
• OR do by hand with the following:
  • Tracing Paper
  • Compass
  • Hot Press Illustration Board
  • Mechanical Pencil to lightly map out lines
  • Rule and Straight Edge
  • Black Ink
  • Gauche paint
  • Brush
  • Mechanical Pen

Mounting and presentation

Mounted vertically on an 14x17" piece of illustration board. Provide for a 2" margin on the top, left and right and a 4" margin on the bottom. Protective flap and naming conventions as per syllabus presentation guidelines.

Research

Visit the following exhibition

Peter Schuyff
Nicole Klagsburn Gallery
526 West 26th Street No 213 (Second Floor), New York, NY 10001
Open Tue - Sat 10 am - 6 pm

Class Journal

Photograph or sketch and paste into your journal 1 example of Peter Schuyff's art works and write about what gestalt principles of visual organization are at work. Note the structural system that the artist is employing, and notice any other relevant observations about the work. Include the name and date of the art work. (you may request a check list from the gallery attendant).

Find and add to your class journal 8 examples of Rotational or Iteratioanl structures. Examples should include either man made or in nature. Write about why each one of these represents this type of structure. At least half must not be man-made forms.

Bring to next class

• Bring these materials: vellum bristol board pad of paper, 4-5 sheets of 8.5x11" paper, rubber cement, exacto knife and blades, a cutting matt, rule, black fine point pen or rapidograph, pencil and sharpener.
• Bring in your favorite magazine (that you will cut up in class) and also have 4-6 examples of rotational and iterational structure from magazine spreads. Examples of magazines that you might find some good examples in are: Nest, Dwell, Wallpaper, ID, Art Forum, Vogue, How, Flash Art, etc... Be prepared to show your examples and explain how each exhibits and uses the strategies of rotational and iterational structure in the composition of the photograph, graphic or page layout.