A universe filled with elaborate simplicity is expanded upon in this particular contrivance. The various, distinct primitive shapes presented each possess their own unique qualities. Storytelling is deliberately eminent, as one shall notice, when viewing the progression of each individual black-and-white image. The sheer foundational conceptualizations of Gestalt’s design principles, as well as the distinctly pertinent, presently acknowledged “golden spiral”—based specifically upon the Fibonacci sequence—are also prominently emphasized. Given these tools, the mind can imagine a plethora of visualizations. Limitations are merely a fictional caveat, as, with only an idea in mind—as well as these aforementioned essentials and notions—the only limit is the capability of the software itself.
- The easy aspects:
1. Creating the basic shapes themselves, as well as the layers.
2. Utilizing the simple tools in Illustrator, such as the shape-based tools (for the creation of triangles, squares, et cetera, located in a separate menu), Selection Tool, and Zoom Tool.
3. Establishing the six “Artboards” as canvases for the drawing process.
- The challenging aspects:
1. Organizing clipping masks, layers, and individual objects to convey an intended effect or idea.
2. Utilizing the more complex tools/functions in Illustrator, such as the Blend Tool to create linear shape distributions, Pen Tool to establish proper curvature of blend paths, and the Transform Each function to rotate each object to a perfect angle in order to represent certain abstract actions.
3. Purposely creating objects and a comprehensive story given specific constraints such as: Only black and white colorization must be implemented; primitive shapes are the basis; and object details must be limited, yet still represent an abstraction that corresponds with the story being visualized.
- What I learned:
1. How to effectively, constructively, and creatively perform whilst being limited to constraints (i.e., output a design that is still unique and well-created, while still being minimal in taste).
2. The various manners in which primitive shapes are able to be created from other distinct primitive shapes.
3. The methodology involved with applying Fibonacci- and Gestalt-based conceptualizations in a foundational project.
- How my project could be improved:
1. Less symmetry could have been applied in the final design.
2. A heavier distinction of Gestalt’s principles may have been applied (proximity, scale, position, etc.).
3. A more simplistic design that is less focused on storytelling, as well as utterly foundational shapes (no rounded corners, etc.), are equally capable of incrementing quality.
- How the assignment could be improved:
1. Varying colors, as a constraint-based permittance, would allow for increased creativity, rather than the two simple tones of black and white..
2. A few more tools could have been permitted in order to enhance the visualization and alteration processes.
3. Varying “Artboards” of freeform/individualized, preference-based sizes and amounts would have resulted in a enhanced, more creatively elevated group of projects.
- Application of knowledge for future assignments:
1. I shall possess the newfound ability to develop elaborate creations under a specified set of limitations.
2. I will, from this point in time, actualize and discern the fundamental procedures and exploits pertinent to the approach and completion of a cumulatively rudimental nursery rhyme-based design such as this.
3. Designs and creative operations shall be enhanced in direct association with this newfound/ascertained knowledge.
- Inspiration (reading: “Intentional or Not: Mathematical Theory in Design“):
1. The ideation of the “nautilus,” which is distinctly relevant to the Fibonacci concept of the sum of two prior numbers, and represents the idealism existing in nature which is also implemented in modern design.
2. The “Rule of Thirds” notion, expressed as a symmetrical representation of any given object or set thereof as if it were (fictionally or factually) divided into three subsequent rows and columns, or nine equilateral squares, in total.
3. The utilization of grids to establish a basis for the placement, proportionality, and cumulative concinnity of each item placed on the screen and within the application itself.