VA 201 - Visual Language I Course Projects
When we talk about language, we really talk about a structure with -agreed upon- rules and codes. We use those codes and structure to convey and receive messages. You also know that people communicate at various levels of competency both in their native tongue and in a second language. Some of us are capable enough in English so that we can easily order a hamburger and coke in New York City. Others may have a level of competency that will enable them to read simple paperback novels or newspaper articles. Certainly, there may be the ones who have a particularly high-level capacity in a language that they have the ability and privilege not just to read but also to write novels, poetry and academic articles in that language. If we are attaching “visual” to the idea of language, it seems that we must be talking about an ability to read, decode, and communicate with nonverbal messages.
What is a nonverbal message? In reality, we deal with such messages more than one might imagine. We generally believe that a red cloth irritates the bull. By common agreement, we stop at red traffic lights and we go when it turns to green. We receive many and various silent messages about incomes, social status, class, taste and the like when we walk in Bebek and certainly a completely different set of nonverbal messages if we go walking in Sultanbeyli. Body language is supposedly an entire communication system, all silent. A smile means the same all over the world.
So, is this another boring introductory language course? Possible, if you think that language is boring. However, remember, language is also control. Language is power. Think of various uses of verbal language. How some people just use language to buy apples from the grocer? Think about how some other people can gather ten thousand people in a public square to listen to them. How they can use the same language to excite a huge crowd sometimes to topple governments, sometimes to lynch people. Think of the use of language in simpler human relations. How one can use the language to make another person so happy or so sad. (An “I love you” or an “I do not love you”) Think about poets, writers and actors that can make us laugh and cry at times using the same words that we use to buy apples.
Be it visual or verbal if you are competent and able in a communication process, if you know what to say, what words to use, how to pronounce the words, when to pause, when to scream, when to whisper you have a lot of power. You can convey ideas, feelings, emotions; you can activate or stop your listeners or viewers. You can make them be intrigued, disgusted or fall in love with you.
Both in verbal and visual language to have that sort of influence one must first learn the basic elements of a language (letters of that alphabet, words/vocabulary, rules of syntax/grammar). As you, all know we have to do a lot of memorizing, reading and writing exercises to master that part of a language only. Once we are able to read, write and speak in a language, to use that effectively we have to master the process of decision-making. This means we have to learn what words to use at a particular instance, when to pause when to scream, when to whisper. In visual language this process of decision-making is called designing.
• This course will start with some information and exercises about seeing accurately and creating images.
What is a nonverbal message? In reality, we deal with such messages more than one might imagine. We generally believe that a red cloth irritates the bull. By common agreement, we stop at red traffic lights and we go when it turns to green. We receive many and various silent messages about incomes, social status, class, taste and the like when we walk in Bebek and certainly a completely different set of nonverbal messages if we go walking in Sultanbeyli. Body language is supposedly an entire communication system, all silent. A smile means the same all over the world.
So, is this another boring introductory language course? Possible, if you think that language is boring. However, remember, language is also control. Language is power. Think of various uses of verbal language. How some people just use language to buy apples from the grocer? Think about how some other people can gather ten thousand people in a public square to listen to them. How they can use the same language to excite a huge crowd sometimes to topple governments, sometimes to lynch people. Think of the use of language in simpler human relations. How one can use the language to make another person so happy or so sad. (An “I love you” or an “I do not love you”) Think about poets, writers and actors that can make us laugh and cry at times using the same words that we use to buy apples.
Be it visual or verbal if you are competent and able in a communication process, if you know what to say, what words to use, how to pronounce the words, when to pause, when to scream, when to whisper you have a lot of power. You can convey ideas, feelings, emotions; you can activate or stop your listeners or viewers. You can make them be intrigued, disgusted or fall in love with you.
Both in verbal and visual language to have that sort of influence one must first learn the basic elements of a language (letters of that alphabet, words/vocabulary, rules of syntax/grammar). As you, all know we have to do a lot of memorizing, reading and writing exercises to master that part of a language only. Once we are able to read, write and speak in a language, to use that effectively we have to master the process of decision-making. This means we have to learn what words to use at a particular instance, when to pause when to scream, when to whisper. In visual language this process of decision-making is called designing.
• This course will start with some information and exercises about seeing accurately and creating images.
• It will move on to the basic visual elements and their various characteristics.
• We will look into how we see and perceive, discuss basic principles of design, focusing on the principles of gestalt, and how visual perception informs design decisions. (Such as closure/proximity/grouping/continuity.)
• Finally, we will get into visual strategies, through various basic design exercises to consciously arrange various visual elements to achieve the particular effect we desire.
Işık, M., (2020). VA 201 Visual Language I Syllabus (Fall 2020).
FINAL PROJECT // January 6, 2021
Designing a visual story which involves an element of surprise.
It will be about an encounter between your chosen object and geometric shapes.
It will be about an encounter between your chosen object and geometric shapes.
CONSTRAINTS:
It is only allowed to use
- circles, squares, rectangles or triangles of any size and any number and any number of line drawings, silhouettes, and/or high contrast drawings of the chosen object.
- one or two colors besides black and white.
REMEMBER the discussion about visual rhythm and sequence.
It is expected to consider all previously discussed design issues.
(Gestalt, grouping, alignment, secret understructure of the paper / your format, depth, flatness, utilization of negative space, etc.)
Final Project Sketches
General Feeling of the Project
PROJECT #18 - Spontaneity & Predictability // December 10, 2020
Create one design that communicates the visual strategy spontaneity and another design which communicate the visual strategy predictability (Use one or more line drawings, silhouettes and/or high contrast versions of your selected objects).
PROJECT #17 - Boldness & Subtelty // December 8, 2020
Create a design which communicates both strategies BOLDNESS and SUBTELTY (Use as many silhouette and/or the high contrast version of one of your objects.)
PROJECT #15 &16 - Object studies: Silhouette, Line and High Contrast Drawing // December 1-3, 2020
PROJECT #13 - Comforting & Disturbing // November 24, 2020
1.Create an asymmetrical design that will make audience feel content and comfortable!
Cut or tear it out as many shapes as you wish from a red square (20cm X 20cm) and paste ALL of the pieces of that one red square on a white Canson (30cm X 45cm).
2. Create an asymmetrical design that will irritate, displease and disturb the audience!
Cut or tear it out as many shapes as you wish from a black square (20cm X 20cm) and paste ALL of the pieces of that one black square on a white Canson (30cm X 45cm).
DON’T FORGET TO MAKE DECISIONS!!! THINKING…RE-THINKING.
DESIGNING AS A PROCESS.
Consider the specific characteristics of your shapes.
Gestalt, Grouping and repelling, Hidden structure of the field (paper), Proximity and placement.
PROJECT #12 - Order & Chaos // November 19, 2020
Create an asymmetrical design on a horizontal (20 x 30cm) white Canson that visually communicate the concepts of Order & Chaos.
Thinking of grouping and repelling:
Part 1: by drawing black lines only
Part 1: by drawing black lines only
Part 2: by cutting and pasting black squares, triangles and circles
Make sure the viewer can perceive both concepts in each exercise, and their contrast. Think about the relationship between the two concepts, and the variety of ways they can be presented within the same space, on your 20 x30 cm paper.
PROJECT #10 - Poster Design // November 12, 2020
On a vertical A4 format white Canson create a dynamic but visually balanced design. Be aware that the negative areas also have visual weights.
Use and paste all of the following visual elements:
- 5 squares 3x3 cm (Use two different colors),
- The dummy text and the headline given to you as a pdf file (Print, cut and use it at the size given to you.)
- One black & white or color photograph of your choice .(The longest side should be no more than 12 cm). You may use the photograph as a geometric shape, or you may cut it out following the outlines (découpe) and use it as an organic shape.
PROJECT #9 - Grid: Module/Pattern Design // November 10, 2020
The aim of this project is to create an asymmetrical design unit that can be repeated to make up a pattern.
Part I: DESIGNING A SINGLE MODULE
Design a single module, a unit that will be repeated to form a pattern. It is very important that your unit does not look like a pattern itself!
Use a grid made out of 4cm x 4cm squares to arrange the elements to design your module (It is only allowed to use circles, squares and triangles; the shapes can be any size and as many as you want, as long as they conform to the grid!).
Part II: CREATING A PATTERN
Scale down your unit proportionally and make at least 16 copies of it.
Draw a grid with 4 horizontal and 4 vertical units on your frame.
Arrange your modules on the 4x4 grid to form a pattern. Once you are satisfied with your pattern, fill the whole grid.
Experiment with different possibilities. Look, adjust, look again!
Module A - Pattern A || Module B - Pattern B || Module C - Pattern C
PROJECT #8 - Sequence // November 5, 2020
The aim of the project is to design a sequence in 4 panels, an idea that begins in the first panel and develops in the following panels (It is only allowed to use black lines, dots and geometric shapes, as long as they remain abstract).
PROJECT #7 - Visual Rhythm // November 3, 2020
Part I:
Create an asymmetrical design, that communicates a strong sense of rhythm by using only one kind of black geometric shape (you can use either squares, circles or triangles) or by using only black lines. In other words, you are allowed to use just one kind of visual element.
Part II:
Create an asymmetrical design, that communicates two different rhythms in one composition by using any of the following visual elements: black squares, circles or triangles and black lines.
Think of music, think of different kinds of movement, different types of rhythm, and how to use repetition and variation…
PROJECT #5 - Grouping & Repelling // October 22, 2020
Create four designs on 20X20cm white Canson thinking of grouping and repelling. Use only cutout squares, triangles and circles (Longest dimension of the shapes should be maximum 5 cm).
Themes of the designs:
Friends & Strangers (cut shapes out of black paper)
Runners & Walkers (cut shapes out of black paper)
Blonds & Brunettes (you may use black paper, newspaper or magazines to cut out your shapes)
Soldiers & Clowns (cut shapes out of black paper)
NOTE: Don't forget, the idea is NOT to bring together and to make the circles, triangles and squares to LOOK LIKE clowns or soldiers.
In other words, the problem is NOT about creating a representational or a symbolic image, but it is to choose, use and place the shapes in such a way that, we can perceive two separate groups in each exercise, based on their conceptual differences.
PROJECT #3 - Emphasis // October 15, 2020
Part I:
Visualize the idea of emphasis by drawing minimum of five squares in black contours only. In other words, use just the outlines of the squares. The squares may be of varying sizes and you may use as many squares as you need, but not less than five squares. The line thickness should be such that it is recognized as line, not as shape. But the lines shouldn’t be so thin that they are not visible.
Part II:
Visualize the idea of emphasis by drawing minimum of five triangles in black contours only. The shapes may touch each other but they may not overlap. The line thickness should be such that it is recognized as line, not as shape. But the lines shouldn’t be so thin that they are not visible.
There will be a lot of decision making. Trust your instincts, but also get ready to talk about your reasons.
PROJECT #3 - Emphasis in Photography // October 13, 2020
Part I: Studying & Experimenting
Pick one object to photograph, it can be anything! Take various photos of the object you chose in different settings. Your goal is to emphasize it in each composition by employing different visual strategies. When someone looks at the photo you took, they should immediately see the object you choose, and understand it is the most important element within the photo.
Experiment! You design the setting, you create the composition, you decide on the viewing angle and distance, etc.) Remember, you are responsible from everything within the frame. Be creative! Bring the object to life, make it the main character of the composition.
Part II: Decision Making
After you have taken many pictures and tried out many different ideas to emphasize your object, it is time to look at all the photos you have taken and to analyze them. Compare the photos that you think are best. Look at them side by side and think in order to decide on the most successful executions. Try to verbally describe to yourself, the reasons for your visual choices. If you realize that you need to make some adjustments and refine your ideas, take some more pictures and come back to this step to look and think.
