GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

ARCHITECTURAL DESIGN I 2010 2011

TEACHING PROGRAMME
S.No.
1
2
3
4
5
6
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8
9
10
11
12
13
14
15
16
17
18
19

ASSIGNMENT
INTRODUCTION
FREE HAND SKETCHING
COLLAGE
SEAL DESIGN
COMPOSITION ON PATTERN_ OAT FLOORING
POTENTIAL OF A LINE
LINE TRIANGLE
MONO CHROMATIC MONO SHAPE_ TRIANGLE
LINE RECTANGLE
MONO CHROMATIC MONO SHAPE_ RECTANGLE
MONO CHROMATIC MONO SHAPE_ SQUARE
LINE CIRCLE
MONO CHROMATIC MONO SHAPE_ CIRCLE
MONO CHROMATIC MULTI SHAPE_ COMPOSITION
MULTI CHROMATIC MULTI SHAPE_ COMPOSITION
COMPOSITION OF TEXTURES
COMPOSITION ON EMPHASIS_ MURAL DESIGN
COMPOSITION USING RHYTHM_ BOUNDARY WALL DESIGN
COMPOSITION USING REPETITION_ JAALI DESIGN for Partition
FUNCTIONAL COMPOSITION_ BOOK COVER DESIGN

DATE/ DAY_ Mon/ Thu

09.aug.10
12.aug.10
19.aug.10
23.aug.10
04.sep.10
13.sep.10
16.sep.10
27/ 30.sep.10
04//07.10.10
11/14.10.10
18/21.10.10
25/28.10.10
08/11.11.10
15/18.11.10
22/25.11.10
22/25.11.10
29.11.10/02.12.10
29.11.10/02.12.10

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

09.08.10
INTRODUCTION

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 2011

DESIGN ASSIGNMENT NO.1
12.08.10
FREE HAND SKETCHING

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

DESIGN ASSIGNMENT NO.2
19.aug.10
COLLAGE: visual composition

Two-dimensional visual design is a process of composing

elements of basic visual design under the guidelines of the
principles of basic design. The intention of these compositions is
to produce a visually pleasing arrangement of lines, colors and
visual textures with an under lying theme. The composition thus
becomes a mode of communication in an aesthetic manner.
Generally in a composition the designer uses design elements in
their various forms to make a statement. However, it is equally
important for a designer to appreciate the joining together of
colors, shapes and textures already available in a designed
composition. The design constraints, here, are more in
establishing a theme and then choosing the appropriate
illustrations to communicate the theme or idea in an artistic
manner. Alternatively, the illustrations available may suggest the
under lying theme. Either way the theme is of prime importance
here. Once the theme and the illustrations are matched, the
principles of composition can start playing their role in the design
of the composition.
The intention of this exercise is to develop the inherent capability
of observing and relating visuals with an idea. The requirement
here is to select from a given set of illustrations those pictures
which can form a part of the statement the designer wishes to
make. The project thus helps in developing the power of
observation and analysis of visuals which is one of the more
essential quality of a designer of visual compositions.

The problem
Take an A 3 size sheet make the standard border and seal.
Go carefully through the news papers(4) you have.
Look at the pictures carefully.
Think of an idea or theme which can be represented by the
pictures available.
Cut out the appropriate pictures (without using any instrument) keeping
in mind the space available on your sheet.
Compose the pictures such that the composition makes a
statement for the viewer.
There are no limitations to the number of pictures, or the
shape of the pictures.
Besides pictures single words or letters can also be used for
highlighting the idea, but these should be used very
sparingly.
The constraint is just that the composition should be
pleasing to the eye and should make a statement to the
viewer.
Roughly arrange the pictures and show the composition to
the teacher and get the composition approved before pasting
the pictures.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

DESIGN PROBLEM NO.3
23.aug.10
PATTERN DESIGN (2D)

What is Pattern?
A pattern is made by the arrangement of many unit designs;
So, to get a pattern one has to make a design first and then
arrange that unit design in the combination of many.
There is also need of understanding the concept of spaces, the
filled spaces and blank spaces i.e. the positive spaces the
negative spaces respectively.
In the actual fabrication of the design there will be a number of
constraints like the material and construction issues but at this
stage it is expected that the major effort will be made in the
aesthetic component.
The problem
Take a A3 size size sheet draw the regular borders and seal.
On the remaining sheet leave the margin of 1cm on all sides.
Take remaining size as the size of BLACK paper.
On this Black sheet draw a pattern based on your design
unit.
You are required to make an aesthetically pleasing pattern.
Try a few rough patterns based on the unit design. Feel free
to experiment just keeping in mind the fact that the design
will be seen on a surface that is horizontal.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

DESIGN ASSIGNMENT NO.4
04.sep.10
POTENTIAL OF A LINE

Architecture in its final manifestation is a visual art as, in its

essence, it deals with the creation and placing of objects in space
to make space usable. The design of any object, in its turn, entails
organization of some mass. The object while made up of some
material is seen as a series of planes which have some
dimensions and some surface qualities. Planes are, by
themselves, visually recognized or defined by their edges. These
edges are in the form of lines. Thus lines form one of the basic
elements of visual design. Of course, the line is made up of
points, but these are not emphatic in a general visual and the line
may be taken as a starting point for the understanding of the
visuals of the objects we create and see.
The line when seen by itself displays a tremendous versatility. A
line can be straight or it can be curved. Straight lines can have
varying dimensions and directions and curved lines have even
greater play than straight lines. Lines in conjunction with other
lines create planes or multiple lines can be placed together to
form interesting visual compositions. A composition of lines can
be a source of not only visual delight, it can also convey some
emotions.
While a line by itself can convey an emotion like a horizontal line
suggests stability, a jagged line suggests anger, a composition of
lines can help in emphasizing this emotion. Other issues like the
principles of design start playing a role. At this stage the emphasis
will, however, be on just intuitive visual delight.

The intention of this exercise is to create an appreciation of the

potential of the very basic element of visual design. This
appreciation will further lead to the appreciation of the versatility
of architecture as a whole.
The Problem
Take a A 3 size size sheet draw the regular borders and seal.
Divide the remaining sheet in six equal parts.
In each of these compartments, draw free hand lines to
represent an emotion.
Title the composition with the name of the emotion in that
compartment.
There are no limitations to the composition or the number of
lines or anything else.
This exercise requires that you first think about an emotion,
ponder over the different facets of that emotion and then
from your own basic sense draw freehand lines which to you
symbolize that emotion or some of its facets.
Try drawing a few lines on a rough sheet of paper to get the
feel of lines and their effect before deciding the final
composition.
Feel absolutely free to express your ideas.
If you have given deep thought to your idea and the
composition, you cannot go wrong.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

DESIGN ASSIGNMENT NO.5
13/16.sep.10

PLAY OF LINE TRIANGLES

The simplest form of an enclosure is created when three lines are

joined together. This composition, addressed as triangle is the
basic geometrical form which is suggestive of enclosed space on
a two-dimensional format. Triangles are differentiated on the basis
of the relationship of the dimensions or proportions of the three
sides or the lines which make up the triangle. Triangles made up
of all three equal sides are known as equilateral triangles; with
two equal sides are known as isosceles triangles and the ones
with all unequal sides are known as scalar triangles. The
relationship of the sides is also represented in the enclosed
angles within the triangles. An equilateral triangle, thus has all
angles equal, an isosceles triangle has two internal angles equal
and a scalar triangle has no internal angle equal.
The geometry of a triangle because of the three constituent lines
and a focal point (the center of gravity, if the triangle was
presumed to be solid) within it has invisible lines which pass
through the focal point and the mid points of the lines and which
pass through the focal point and the three vertices (intersections
of lines). These six radiating, invisible lines and the edges of the
triangles form the guiding lines on which the triangles can be
related to one another if there were more than two triangles to be
placed next to one another.
The placement of the triangles next to one another to form a
composition will be guided not only by these six lines but also the
positioning of the third triangle next to the first two, the total space
available for the composition and the thread which ties up all the
triangles.

The Problem
Take a A3 size sheet draw the regular borders and seal.
Divide the remaining sheet in four equal parts.
In each of these compartments, draw triangles to create a
visually exciting composition.
In the first quadrant use only equilateral triangles,
in the next use only isosceles triangles,
in the next use scalar triangles and
in the last use a combination of all these types of triangles.
You can use a maximum of twelve triangles in a composition.
Title the composition with the name of the triangle type used
in the compartment.
There are no limitations to the sizes of the triangles; You can
choose equal triangles or these can be of different sizes.
These can be placed on an edge alignment, a vertices
alignment or an axial alignment.
Look at the space available, try to sketch a few rough
arrangements of triangles on a rough sheet of paper before
finalizing the arrangement that you find most fascinating
before finally drafting it.
Feel absolutely free to express your ideas.
Try using different composing methods for different
compartments.
If you have given deep thought to your idea and the
composition, you cannot go wrong.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

DESIGN PROBLEM NO.6
27/30. 09.10
MONOCHROMATIC MONO-SHAPE (TRIANGLES) COMPOSITION

A visual scene, in reality, is made up of many objects. These

objects make a visual impact that is actually created by the seeing
of surfaces which have some shape, color and some textural
quality. The further understanding of the object is more a matter of
perception than of what is being seen. Objects are also generally
not seen in isolation but are seen as combinations. Thus a visual
frame is a composition of many planes which have different sizes,
shapes and surface qualities. A designer involved in the area of
visual design needs to understand and appreciate the
complexities of creating a composition that pleases the eye
besides meeting other constraints of design.
In the series of exercises for the development of the capability of
appreciating visual impressions, this project will help in the
appreciation of solid simple shapes when these are placed next
to one another in a given frame. The earlier exercises of using
lines to create shapes and composing these hollow shapes in a
given space and the creation of a collage were an exposure to
some of the basic facets of visual design. As pointed out earlier
surfaces are seen as solids because of their color and texture. To
make the process simple to understand only one of the issues
that make a visual impact will be taken in this exercise. This
exercise will also help in appreciating shapes when the
compositions created in this exercise are compared with the
compositions of triangles made up just by lines.
The shapes in this exercise are quite emphatic visually because
of their visual weight. Care should therefore be taken to give
individual identity to each composition and some kind of visual

relationship between all of the compositions as these will be seen

simultaneously.
The Assignment
From a black cartridge sheet cut the following shapes:
18 equilateral triangles of side 4.5 cms.
18 isosceles triangles of base 2 cms. And height 5 cms.
18 scalar triangles of sides 6, 5 and 4 cms.
On a A 3 size sheet draw the normal border and seal.
Divide the remaining space in four equal parts by a
horizontal and a vertical division.
Make a composition of equilateral triangles in the upper left
quadrant using a maximum of eight triangles.
In the upper right quadrant make a composition of isosceles
triangles using a maximum of eight triangles.
In the lower left quadrant make a composition of scalar
triangles using a maximum of eight triangles.
In the lower right quadrant make a composition of mixed
triangles using a maximum of eight triangles.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

DESIGN PROBLEM NO.7
06/ 09.oct.10
COMPOSITION OF LINE RECTANGLES

After having seen the possibilities of composing triangles let us

now probe at another basic geometric shape the rectangle. This
shape in its inherent geometry has four visible edges and corners.
It also has a hidden focal point its center of gravity if the shape
is seen as a plane. Hidden rays pass through the focal point and
the corners and the midpoints of each side in the form of axis of
this shape.
The rectangle to be called a rectangle can have any
proportions for its length and breadth. Some proportions, like the
golden ratio, however, generate better looking rectangles. As the
intent of creating a composition is to communicate beauty, the
rectangles chosen for the composition must be suitably
proportioned.
The arrangement of various rectangles in a given frame can be
based on numerous relationships. These relationships, must
however, be related to the inherent quality of the shape. Hence for
rectangles the relationships of one with the other can be based on
an edge relationship, a corner alignment or an axial relationship.
The rectangles in a composition may be of the same size or may
vary in sizes. In the case of rectangles of varying sizes there has
to be a proportional relationship between the rectangles chosen
for the composition i.e. the composition will be better if the
increase in the sizes is a constant factor. Besides the possibility of
rectangles being placed next to one another on a system, there is
the possibility of placing rectangles within rectangles. Here, too,
the relationship should be based on some kind of a principled
relationship. There is also the possibility of combining the various

possibilities to create interesting compositions using only

rectangles on the format of line drawings.
The Assignment
On an A 3 size sheet draw the regular borders and seal.
Divide the remaining sheet in four equal parts.
In each of these compartments, draw rectangles to create a
visually exciting composition.
In the first quadrant use rectangles separate from each
other but parallel to each other.
In the next you may overlap the rectangles of different
sizes but still parallel to each other,
in the next use a diagonal relationship and
in the last use a combination of all these types of
composition principles.
You can use a maximum of twelve rectangles in a
composition.
Title the composition with the name of the principle of
relationship type used in the compartment.
There are no limitations to the sizes of the rectangles. You
can choose equal rectangles or these can be of different
sizes.
These can be placed on an edge alignment, a corner
alignment or an axial alignment.
Look at the space available, try to sketch a few rough
arrangements of rectangles on a rough sheet of paper
before finalizing the arrangement that you find most
fascinating before finally drawing it using your drawing
equipment.
Feel absolutely free to express your ideas.
Try using different composing methods for different
compartments.

 If you have given deep thought to your idea and the

composition, you cannot go wrong.
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2010 - 2011

DESIGN PROBLEM NO.8
13/ 16.oct.10
MONOCHROMATIC MONO-SHAPE ( RECTANGLES ) COMPOSITION
The previous exercises of triangles, collage and hollow rectangles
would have explained the basic tenets of a composition. To continue with
the development of the understanding of basic geometric forms this
exercise will deal with solid rectangles. It is important to appreciate the
difference between forms generated by lines and forms which have a much
greater impact because of their body. At this stage of observing forms it
will be realized that color and texture play an equally important role to the
one played by the form itself. Solid filled in shapes have a stronger visual
impact and it is easier to recognize shapes from even a distance which is
often not possible when the shape is presented in just its outline.
A major difference between line forms and filled forms is also noticeable
in the case of overlapping forms. In a monochromatic composition
overlapping forms will generate altogether new forms very often quite
different from the original shape. This fact will be noticed when one of the
overlapping line composition is repeated with solid forms and the two
compositions are seen simultaneously.
The Assignment
Keep in mind the fact that you have a A 3 sized sheet to work on
you can use a maximum of 12 rectangles in a composition
you have to make four compositions.
In one of the quadrants you must compose the rectangles of the size
that you drew for the overlapping composition in the previous
exercise of line rectangles. This is necessary to appreciate the
difference between overlapping line and filled forms in a composition.
On an A 3 size sheet draw the normal border and seal. Divide the
remaining space in four equal parts by a horizontal and a vertical

division. Make compositions of rectangles on the same principles as

in the case of line forms.
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT
ARCHITECTURAL DESIGN I 2008 - 2009
DESIGN PROBLEM NO. 7
COMPOSITION OF LINE CIRCLES
Circles as a geometric form have different properties than those of triangles
and rectangles. This form does not have any edges but an invisible point
and a continuous line around it. The point is the center and the line is the
circumference bound to each other with a distinct geometry. This form thus
has multiple radial lines of reference passing through the center. In a
composition, however, the placement of two circles generates a connecting
line between the two centers. This connecting line then forms a reference
for the placement of the third circular shape in the composition. The
composition can be thus continued with the hidden joining geometry of the
shape created by the centers. The composition is also effected by the size
of the circles other than the placement of these circles. The sizes could be
of equal size or of differing sizes increasing or decreasing in size as the
eye moves over the composition. Both these compositions are going to
produce differing visual results.
Circles have another unique property. These are fluid shapes associated
with movement. A dynamic composition is generally an outcome of using
circles in a visual two-dimension composition. This property creates a
visual excitement and must be a serious point of consideration in the
making of a composition.
The Problem
On an A 3 size sheet draw the regular borders and seal. Divide the
remaining sheet in four equal parts. In each of these compartments, draw
circles to create a visually exciting composition. In the first quadrant use
circles of the same size separate from each other but aligned by a theme.
In the next you may overlap the circles of equal size but still the
relationship of the circles must have a theme. In the next quadrant you can

place circles of varying sizes separated from each other. In the last
quadrant use a combination of all these types keeping in mind the general
principles of composition. You can use a maximum of twelve circles in a
composition. Title the composition with the name of the principle of
relationship type used in the compartment.
There are no limitations to the sizes of the circles. These can be placed
such that the hidden lines joining their centers are a shape by itself or
forms a fluid line. Try a few rough arrangements of circles on your system
(at least 4) before finalizing the arrangement that you find most fascinating
before finally freezing it for printing. Feel absolutely free to express your
ideas. Try using different composing methods for different compartments. If
you have given deep thought to your idea and the composition, you cannot
go wrong.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2008 - 2009
DESIGN PROBLEM NO. 8
MONOCHROMATIC MONO-SHAPE ( CIRCLES ) COMPOSITION
The previous exercises would have explained the basic tenets of a visual
composition and the difference between the visual impact of hollow and
solid shapes. To continue with the development of the understanding of
basic geometric forms this exercise will deal with solid circles. It is
important to appreciate the difference between forms generated by lines
and forms which have a much greater impact because of their body. At
this stage of observing forms it will be realized that color and texture play
an equally important role to the one played by the form itself. Solid filled in
shapes have a stronger visual impact and it is easier to recognize shapes
from even a distance which is often not possible when the shape is
presented in just its outline.
A major difference between line forms and filled forms is also noticeable in
the case of overlapping forms. In a monochromatic composition
overlapping forms will generate altogether new forms very often quite
different from the original shape. This fact will be noticed when one of the
overlapping line composition is repeated with solid forms and the two
compositions are seen simultaneously. In the case of circles, overlapping
forms in solid circles will create diversely different looking forms as
compared to the ones created by using of the same circles in the same
position in a hollow form.
The Problem
On an A 3 size sheet format draw the regular borders and seal. Divide the
remaining sheet in four equal parts. In each of these compartments, draw
circles to create a visually exciting composition. In the first quadrant use
circles of the same size separate from each other but aligned by a theme
such that the line joining the centers forms a distinct fluid line/s. In the next
you may overlap the circles of equal size but still the relationship of the
circles must have a theme. In the next quadrant you can place circles of

varying sizes separated from each other. In the last quadrant you must cut
and paste the circles of the size that you drew for the overlapping
composition in the previous exercise of line circles. This is necessary to
appreciate the difference between overlapping line and filled forms in a
composition.
There are no limitations to the sizes of the circles. These can be placed
such that the hidden lines joining their centers are a shape by itself or
forms a fluid line. Try to sketch a few rough arrangements of circles on a
rough sheet of paper before finalizing the arrangement that you find most
fascinating before finally drawing it using your drawing equipment. Feel
absolutely free to express your ideas. Try using different composing
methods for different compartments. If you have given deep thought to your
idea and the composition, you cannot go wrong.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2008 - 2009
DESIGN PROBLEM NO. 9
MONOCHROMATIC MULTI-SHAPE COMPOSITION

After having seen the behavior and properties of the different pure shapes,
it will be worthwhile to see their behavior when these are placed in
conjunction with each other. Our visual world is made up of many complex
forms having varying surfaces, masses and seen under differing lighting
conditions. For a designer it is important to understand the complexity of
composing differing shapes within the same visual frame.
The visual relationship of shapes of the same kind placed next to one
another is governed by the hidden line of their geometry and the edges of
the shapes. The relationship of unlike shapes placed next to one another
becomes more complicated because of the mismatch of the edges. In such
compositions it becomes necessary that a subtle relationship be
established between the shapes such that the whole composition follows
an underlying theme. The theme could be of symmetry or asymmetrical
balance, rhythmic repetition, with a center emphasis or any such idea. The
composition will generally not be beautiful if it is not based on a theme or
an explainable idea.
When monochromatic shapes are used specially in contrast to the
background, the background also forms a pattern. This pattern must also
be kept in mind when the composition is being created.
Your eye and your aesthetic perceptions will be an excellent judge in
helping you decide the best composition. Still it may help if you were to try
some rough sketches on the full scale, with reasoning for the arrangement
and take comments of the teacher before cutting and pasting the shapes
on your final sheet.
The Problem

On a A 3 size sheet draw the regular borders and seal. Divide the
remaining sheet in four equal parts. In each of these compartments,
compose the shapes to create a visually exciting composition. In the first
quadrant use shapes of the same size separate from each other but
aligned by a theme. In the next you may overlap the shapes of equal size
or place them adjacent to each other but still the relationship must have a
theme. In the next quadrant you can place shapes of varying sizes
separated from each other. In the last quadrant you may cut and paste the
shapes of the different sizes such that the shapes are touching or
overlapping one another.
There are no limitations to the sizes of the shapes. Try to sketch a few
rough compositions on a rough sheet of paper before finalizing the
arrangement that you find most fascinating before finally using it as a final
scheme. Feel absolutely free to express your ideas. Try using different
composing methods for different compartments. If you have given deep
thought to your idea and the composition, you cannot go wrong.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2008 - 2009
DESIGN PROBLEM NO. 10
MULTI-CHROMATIC MULTI-SHAPE COMPOSITION
The world that we see is made up of objects which have varied hues and
colors. This surface quality is the major source of creating the quality of
expression of the object. This quality, besides other qualities of mass, form
and textURE AND DESIGN, also helps in identifying the object. Thus, color
plays an important part in our lives and needs to be studied for it to be used
as a design element. There are many facets to the study and application of
color in the design of objects. We shall however look at color in its
elemental form.
Colors can be in a combination of harmony or contrast, soothing or exciting
and in various other such combinations. As the first exercise in the use of
colors, only three strikingly different colors are being used to understand
the effect of color and form in different compositions.
In this exercise besides the complexity of composing shapes of different
kinds with their varied geometry there is an added complexity of different
colors. The compositions will have to be made keeping in mind the visual
impact of keeping different shapes of different colors next to one another
and the total visual impact of the composition. The earlier used principles of
design must be used with an added care of creating a visual balance of
colors. It must also be remembered that not only should each composition
look beautiful, all the four compositions which will be seen together, make a
picture of visual delight.
The Problem
On an A 3 size sheet draw the regular borders and seal. Divide the
remaining sheet in four equal parts. In each of these compartments,
compose the cut pieces to create a visually exciting composition. In the first
quadrant use pieces of the same size separate from each other but aligned

by a theme. In the next you may overlap the shapes of equal size or place
them adjacent to each other but still the relationship must have a theme. In
the next quadrant you can place shapes of varying sizes separated from
each other. In the last quadrant you may cut and paste the shapes of the
different sizes such that the shapes are touching or overlapping one
another.
There are no limitations to the sizes of the shapes. Try few rough
compositions (at least 4) before finalizing the arrangement that you find
most fascinating before finally using it as a final scheme. Feel absolutely
free to express your ideas. Try using different composing methods for
different compartments. If you have given deep thought to your idea and
the composition, you cannot go wrong.

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN, SONIPAT

ARCHITECTURAL DESIGN I 2008 - 2009
DESIGN PROBLEM NO. 11
COMPOSITION OF TEXTURES
All objects that we see are identified by their surface qualities besides their
mass and form. Surface qualities comprise the two aspects of color and
texture. While color plays an important role in the perception of objects,
textural qualities play an important role when the object is viewed from
close or in detail. The human eye is, however, capable of distinguishing the
general feel of texture even from a distance.
Texture is usually an inherent quality of a surface. Textures could be
smooth, rough, hard, soft, even, haphazard and the like. The physicality of
the textures is observable only through the tactile senses, but textures are
also felt by the visual senses. The observer can ascertain the quality of the
surface just by looking at it and need not necessarily touch it to know
whether it is rough or smooth.
As this quality is inherent in the material which is selected for the design of
an object and this quality effects the final appearance of the designed
object, it is important for a designer to keep this in mind at the time of
designing. This quality also influences the total expression of a visual
composition and must therefore be used under the same principles of
composition as other design elements are used i.e. balance harmony and
the like.
The Problem
You are required to create an aesthetically pleasing composition of
surfaces having differing textures arranged in gradation of textures.
Collect various materials like sand, saw dust etc. or thin objects like fabric,
corrugated sheet, etc. which can be stuck on a cartridge sheet. Keep in
mind that these are of a color suitable to your theme of the composition.

The color should be in harmony or contrast depending on whether you

want the final composition to be in harmony or contrast. If the objects are
patterned, the same constraint will be applicable.
On a A 3 size size sheet draw the regular borders and seal. Place the
selected material on the workable part of the sheet such that it forms a
visually exciting composition. You must establish an underlying theme like a
flow of rough to smooth textures or some other combination so that there is
a theoretical explanation to the composition. Try various configurations and
get the approval of the studio advisor before finally sticking the textures on
the sheet.