Launching the Imagination, Pg. 10-38, 355

"Underbelly Of A Train Car" / By: Justin Hawkes / 8-2-14 / Richland Washington 

Nikon D3000 / Focal Length: 50 / F-Stop: 8 / Exposure Time: 0.7692

Edited in Photoshop CS6

While reading this section of the book I would relate information to photographs or graphics I have created myself. The photo it reminded me of was one I took of the "Underbelly Of A Train Car", in which it is so amicably named.

My photo:
Is black and white which created contrast between the flat/ gradient shapes in the foreground and the flat shapes in the background.

- Flat and gradient shapes: "A flat square is a shape, a cube is a volume" (Ch.1, Pg.10)
- "Graphic designers are equally aware of the expressive power of both flat and gradient shapes" (Ch.1, Pg.11)

The foreground is darker and has many shades of grey and black where the background is white therefor the train car and ground are positive shapes, where the white background consists of negative shapes.

- "A shape that is distinguished from the background is called a positive shape or figure. The surrounding is called the negative shape, or ground." (Ch.1, Pg.12)

Is filled with more shapes and compositional components that take away the simplicity that Bill Brandt's "Nude"consists of but it was still inspirational when I edited my photograph. The photo was originally taken with a low exposure time to bring out the foreground, which lit up the background. Much like "Nude", this heightens our awareness of the compositional edge.

- "The brightly lit arm, face, and breast dramatically divide the black ground, creating three strong, triangular shapes. These triangles energize the design and heighten our awareness of the compositional edge." (Ch.1, Pg.12)

Composed of rectilinear shapes and very few, if any, curvilinear shapes.

-"Rectilinear shapes are composed from strait lines and angular corners. Curvilinear shapes are dominated by curves and flowing edges." (Ch.1, Pg.14)

Geometric shapes are outlined by other geometric shapes filled in with different gradients.

-"Geometric shapes are distinguished by their crisp, precise edges and mathematically consistent cures. They dominate the technological world of architecture and industry, and they appear in nature as crystalline structures and growth patterns." (Ch.1, Pg. 15)

All the shapes in my piece consist of a high definition contrast between each other. Their are gradations but I wouldn't define them as low-definition shapes.

-"High definition creates a strong contrast between shapes and tends to increase clarity and immediacy of communication. Low-definition shapes, including soft-edged shapes, gradations, and transparencies, can increase the complexity of the design and encourage multiple interpretations." (Ch.1, Pg.18)

I don't believe this has any texture specified from the book. The train car on top is smooth with almost no flaws while the ground is choppy with immediate, random beginnings and endings in the shapes creating a rough texture.

-"Physical texture creates actual variations in a surface. Visual texture is an illusion. It can be created by using multiple marks or through a simulation of physical texture. Invented texture is one form of visual texture. Using invented texture, the artist or designer can activate a surface using shapes that have no direct reference to perceptual reality." (Ch.1, Pg.26)

NOTE: I really like what page 26 was talking about in "Combining Physical and Visual Texture" and "Marks and Meanings." I haven't combined materials to create textures and its inspired me to create something in the future. I like the quote, "Every textural mark we make can add to or subtract from the composition as a whole." (Ch.1, Pg.26)  Its a poetic way of letting the artist know that each stroke could essentially make or break your composition.

Value is a big part of this piece, especially because it is black and white. You can get a feel for the depth of the piece based on the different contrasts in value within each shape.

-"Value refers to the relative lightness or darkness of a surface. Both communication and expression are affected by value contrast, or the amount of difference in values." (Ch.1, Pg.29)

The exposure time and small edits I made change the value distribution throughout the piece. It created a bright sky in the background while illuminating the shapes closest to the ground under the train car and darkening the shapes further up and away from the ground.

-"Value Distribution refers to the proportion and arrangement of lights and darks in a composition. Careful use of value distribution can increase emotional impact." (Ch.1, Pg.30)

My photo was naturally lit and I did not include any flash or studio lighting. The natural light is the main reason their is any contrast in value.

-"Filmmakers and set designers are especially aware of the expressive uses of value. Working with a wide range of lights, including sharply defined spotlights and more diffused floodlights, they can increase or decrease the illusion of space, emphasize an object or an action, and influence our emotional response to a character." (Ch.1, Pg.33)

Works Cited: 

Steward, Mary. Launching the Imagination: A Comprehensive Guide to Basic Design. 4th ed.

          New York, Ny: McGraw-Hill, 2012, 2008, 2006, 2002. Print.