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Vis. lit. pres2

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Alina Stone
Alina Stone

This document defines shape, volumetric form, organic shapes and forms, and geometric shapes and forms. It notes that shape is two-dimensional while volumetric form is three-dimensional. Organic shapes and forms are curvilinear and irregular, while geometric ones use straight lines and precise angles. It discusses how the interaction of different shapes can add aesthetic value and visual conflict to a piece. Volumetric forms are accompanied by other visual expression aspects, and geometric forms often represent symbolic meanings.

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Shape and Volumetric Form CHAPTER 3
Definitions SHAPE SHAPE- two dimensional area that displays both width and length; has relatively clear boundaries POSITIVE SHAPES- a tangible or solid shape that appears in front of or encloses an area of the background NEGATIVE SHAPES- theoretically empty areas created by shapes touching each other FIGURE AND GROUND- terms that refer to the interactions of positive and negative shapes in a two dimensional image ORGANIC SHAPES- curvilinear in nature, display irregular routines or contours GEOMETRIC SHAPES- bordered by straight lines, precise angles, uniform curves VOLUMETRIC FORM VOLUMETRIC FORM- three- dimensional equivalent of a two- dimensional shape ORGANIC FORMS- display irregular contours, curvilinear and non- mechanical looking GEOMETRIC FORMS- cube, sphere, cone or pyramid
Key Concepts SHAPE and VOLUMETRIC FORM Visual conflict contributes to the multi-dimensional character of a portrait. Shapes that are different provide a stimulating effect that add to the aesthetic value of a piece. The interaction of organic and geometric shapes and forms show great contrasting visual characteristics as well as visual conflicts and pictorial problems. These appeal to all kinds of people, because different perspectives find beauty in different pieces.. Volumetric form is always accompanied by other aspects of the vocabulary of visual expression. (ex. Principle of space) Geometric forms and shapes are often seen in architecture because they represent deeper symbolic or religious meanings to different cultures. (ex. Domes on churches)
References and Connections to PHOTO IDEA INDEX Page 100: Shapes Be on the lookout for interesting and unexpected instances of simple shapes in the real world. If they are intriguing to you, then theres a good chance that others will be attracted to the photos you take of them. Page 120: Depth Perception Take advantage of the intriguing visual and thematic effects that three-dimensional feel can lend to an image. Consider points of view that amplify the perception of depth whenever you sense that such a presentation could enhance an images impact. Page 86: Symmetry Symmetry, like a basic shape, is easy on the brain: It is a fundamental visual arrangement that does not challenge the viewers comprehension.
References and Connections to NONDESIGNERS DESIGN BOOK Page 81: Dont be afraid to be asymmetrical, to uncenter your format- it often makes the effect stronger. Its okay to do the unexpected. Page 33: Nothing should be placed on the page arbitrarily. Every item should have a visual connection with something else on the page. Robins Principle of Alignment Page 33: The strength of the edge is what gives strength to the layout. Page 33: Even when aligned elements are physically separated from each other, there is an invisible line that connects them, both in your eye and in your relationship Page 49: It is possible to break free of alignment if you do it consciously, and one can tell that it was on purpose.

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Vis. lit. pres2

  • 2. Definitions SHAPE SHAPE- two dimensional area that displays both width and length; has relatively clear boundaries POSITIVE SHAPES- a tangible or solid shape that appears in front of or encloses an area of the background NEGATIVE SHAPES- theoretically empty areas created by shapes touching each other FIGURE AND GROUND- terms that refer to the interactions of positive and negative shapes in a two dimensional image ORGANIC SHAPES- curvilinear in nature, display irregular routines or contours GEOMETRIC SHAPES- bordered by straight lines, precise angles, uniform curves VOLUMETRIC FORM VOLUMETRIC FORM- three- dimensional equivalent of a two- dimensional shape ORGANIC FORMS- display irregular contours, curvilinear and non- mechanical looking GEOMETRIC FORMS- cube, sphere, cone or pyramid
  • 3. Key Concepts SHAPE and VOLUMETRIC FORM Visual conflict contributes to the multi-dimensional character of a portrait. Shapes that are different provide a stimulating effect that add to the aesthetic value of a piece. The interaction of organic and geometric shapes and forms show great contrasting visual characteristics as well as visual conflicts and pictorial problems. These appeal to all kinds of people, because different perspectives find beauty in different pieces.. Volumetric form is always accompanied by other aspects of the vocabulary of visual expression. (ex. Principle of space) Geometric forms and shapes are often seen in architecture because they represent deeper symbolic or religious meanings to different cultures. (ex. Domes on churches)
  • 4. References and Connections to PHOTO IDEA INDEX Page 100: Shapes Be on the lookout for interesting and unexpected instances of simple shapes in the real world. If they are intriguing to you, then theres a good chance that others will be attracted to the photos you take of them. Page 120: Depth Perception Take advantage of the intriguing visual and thematic effects that three-dimensional feel can lend to an image. Consider points of view that amplify the perception of depth whenever you sense that such a presentation could enhance an images impact. Page 86: Symmetry Symmetry, like a basic shape, is easy on the brain: It is a fundamental visual arrangement that does not challenge the viewers comprehension.
  • 5. References and Connections to NONDESIGNERS DESIGN BOOK Page 81: Dont be afraid to be asymmetrical, to uncenter your format- it often makes the effect stronger. Its okay to do the unexpected. Page 33: Nothing should be placed on the page arbitrarily. Every item should have a visual connection with something else on the page. Robins Principle of Alignment Page 33: The strength of the edge is what gives strength to the layout. Page 33: Even when aligned elements are physically separated from each other, there is an invisible line that connects them, both in your eye and in your relationship Page 49: It is possible to break free of alignment if you do it consciously, and one can tell that it was on purpose.