56 MODULE 1: TERM 1 – Introducing the world of design SHAPES AND FORMS


When you close a line – in other words, when the beginning and the end of the line meet and connect – you are creating a two-dimensional shape. A shape can also refer to the outline of an object and can only have width and length. Sometimes you can create a shape without an outline. Tis happens, for instance, when you apply a dot of colour (in this case representing a circular shape) without the presence of an outline. When a shape (2D and flat) is developed into a 3D object, width, length, surface and volume are added and the shape is now referred to as a form. An object or form (three-dimensional) occupies a space and can be man-made, like a tap or a chair, or it can have organic/natural qualities like the forms one would find in nature, for instance, the soſt curves of a rose, a leaf or the shape of a stone or shell. Ten one can also refer to a free form, which is any irregular shape, usually found in sculpture or decorations, created by fluid (a line that just flows) curving lines.


Any form or shape has basic qualities, for instance, it can be 2D (a plane/two-dimensional shape) or


Some geometric shapes and forms:


3D (three-dimensional form) and can be organic or geometric (also referred to as inorganic). A form is more descriptive and refers to the whole object and not just the outline. A form also makes us experience the qualities of a 3D object in its totality – weight, shape, texture, height, width and depth. Tink of holding and handling a 3D object in your hand, like a shell.


To be able to project a 3D object on a flat surface (like paper), we need to use tone (from light to dark or bright to dull) or perspective drawings so that we can create the 3D illusion of an actual 3D object or space on a flat surface.


Ten you also need to understand the meaning and use of the terms figurative and non-figurative (also referred to as abstract shapes/form). A figurative form or shape symbolises or projects, for instance, the human or animal form/shape. Non-figurative is similar in meaning to abstract. It is a shape or form that does not represent anything specific and is not recognisable within our standard frame of reference.


2D shape


3D form 2D shape


3D form


A sphere is another example of a circle as a 3D form. This is also an example of a symmetrical balanced form. If you cut it in half you will find that both halves are exactly the same. A symmetrical balanced circle can also be referred to as an example of “radial” balance. Radial symmetry is when forms are exactly the same all around a central point, no matter if you cut it horizontally or verti- cally. The centre of the form is acting as the focal point.


Looking at the design on the leſt, which do you think is the negative or positive shape? Do you think it is the black or the white?


Positive and negative shapes


A positive shape is the real shape or object while the negative shape refers to the space or background that surrounds the real shape.


While studying design, it is vital to understand and master the effective use of negative and positive space. Sometimes it can even be difficult to differentiate between the two.


Let us have a look at the designer M.C. Escher’s examples on the fol- lowing pages. Tese examples show an intricate illusion through the reversal of the positive and negative spaces.


Copyright © Future Managers


MC Escher, 1957 woodcuts


WHAT IS DESIGN?


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137