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strate a range of results from adding implied fields. Each diagram on the left demonstrates overlapping fields, while those on the right use discrete implied field to compliment the existing defined field.

with purpose to activate figure-ground.

Combining fields

To demonstrate the possible effects of combining fields we begin with the composition sequence seen earlier in the chapter. The diagrams to the right show two copies of each of four compositions in the series – aligned figures, staggered figures, edge-aligned figures and fitted figures ().

To each copy of these compositions, we add a second, transparent implied field, observing two variations of each. The added field in each relates to the existing figures, field, underlying grid or a combination thereof. Other charac-teristics of the addition are as follows:

· The implied field may remain discrete, touching neither figure nor field.

· The field may overlap the existing figures, field or both.

· The added field may cross the existing figures, field or both.

Adding the implied field affects the existing visual grain increasing the over-all complexity of the composition. Note particularly the conditions of trans-parency and opacity that are a product of the second field. The fields are not arbitrary. Instead, their role should be to increase the clarity of intent in the overall gestalt of the composition.

The first pair of diagrams demonstrates two tactics for using the implied field to extend the aligned figure composition laterally (·). In the first dia-gram (·a), the implied field overlaps the defined field and shifts the balance and grain of the figures while suggesting a lateral center for the entire group-ing. In the next diagram (·b), the vertical field, although discrete, relates to the other elements through the resulting negative space. Together, they amend the horizontality of the figural grain and focus the composition inward.

In contrast to the aligned figure composition, the second pair of diagrams acts to counter the lateral motion of the staggered figures (·). The vertical implied field in the first does so by adding visual weight at the overlap. The resulting negative spaces – one vertical and one horizontal – also help balance the overall conglomerate. The second diagram (·b), by comparison, uses the added square element as a foil for the figures, providing a subversive static anchor that results in two negative spaces. The result is a play of back and front patterning that undermines the lateral thrust of the original.

The edge-aligned figures and defined field present a different formal chal-lenge (·). Cast with the first field as a suggestive -shaped cantilever, they combine to create a duality which is neither moving nor completely static.

In the first instance, a large implied field overlaps and crosses the left side (·a). By size and position, this effectively divides the entire composition in half and causes the largest visual element to counter any residual action. The implied field in the second iteration uses an opposite tactic to achieve a simi-lar end (·b). Resting under the projecting figure, completely detached, it nevertheless completes a static rectangle by position.

The fitted figure composition present a variation on the off-balance of the previous examples (·). The defined field on the left anchors the visual whole by suggesting an unequal stability of large and small halves around the horizontally centered square figure. In the first of the diagrams, we note that the implied field adds weight to the left, while at the same time, the tonal vari-ation suggests a gridded complexity that activates the negative space to the right, thus joining and supporting the previously isolated figure on the right

Diagram 50·1 a&b: Aligned figures composition with defined and implied fields – either overlapping or discrete.

Diagram 50·2 a&b: Staggered figures composition with defined and implied fields – either overlapping or discrete.

Diagram 50·3 a&b: Edge-aligned figures composition with defined and implied fields – either overlapping or discrete.

Diagram 50·4 a&b: Fitted figure composition with defined and implied fields – either overlapping or discrete.

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Figure 51: Another hybrid image combining multiple defined and implied fields for a composition used in the previ-ous diagrams. Again although it is not a part of the project, it prompts consideration of figure-field density.

(· a). In the second diagram, a large implied field crosses the rightmost and the center figures, suitably stabilizing the whole (· b).

Summary

Formal design premised on figure-ground gestalt – interpreting figures and fields on a ground – exhibits more nuance than the simple multistable ‘face or vase’ illusion. Throughout the presentation of this project, we have offered complex visual examples as products of simple means. The multiple inter-pretations of highly ordered diagrams serve an important purpose for the designer. It allows her to continually ask ‘what if?’, and then to proceed with additions to or alteration of the scheme in front of her. It enables her to imagine something that is not yet present. It provides a tool for analysis and improvement.

We began this chapter with an argument for including drawing and dia-gramming as part of the arsenal for design thinking. When we work with our students through this first project, they do not learn anything absolutely or finally. Rather, they pack up their experience, write and compare notes and sketches, and begin looking at composition differently – not as an endeavor to identify right and wrong, but as an open-ended inquiry into the possible.



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* 

The term  generally refers to something either per-ceived through the senses, visualized or imagined. It is a comprehensive word that includes most aspects of mental activity.

· In contrast, a  results from meditation, reasoning or other intellectual activity.

· The term  denotes any vague or capricious or unreasoned idea.

· We define any widely held idea that identifies some-thing particular as a .

· External phenomena often trigger an , something less mentally rigorous.

GLOSSARY OF TERMS

: Describes anything – particularly a figure or field – next to or adjoin-ing somethadjoin-ing else.

: An imaginary straight line that divides any space or figure into two portions.

(Further remarks on ‘axis’ appear in later glossaries.)

: Any line that marks the limits of an area, a boundary divides a figure from its ground.

· In diagrams,   (or  ) extend a figure’s boundary past the figure and across the ground to provide visual evidence of formal influence – most often alignment.

 and  : Terms used to distinguish kinds of related bound-aries and corners found within compositions.

· Defined fields directly correspond to an existing edges.

· Implied fields correspond to locations inferred by existing pattern and mea-sure either through interpolation or extrapolation.

 and : Terms used to describe elements as if within a per-ceived visual hierarchy.

· A dominant figure appears as the most influential field in a composition.

· A subordinate figure acts seems as less influential or dependant on another figure or field in the configuration.

: In visual composition, any area observed as an independent region. In gestalt, both figures and ground are potential fields for other elements.

: A network of lines crossing each other to form a series of similar units, usu-ally squares or rectangles.

· A   results from the geometric subdivision of space relative to an initial field.

· A   represents infinite lines that cross one another at right angles at regular – sometimes numbered – intervals to precisely locate and measure objects and space.

: In composition, the largest field in which figures may interact.

: A thing made by combining two distinct or different elements.

: A mental event about a possible course of action, often synonymous with the aim or purpose of that action. In its broadest sense, an idea can reflect concepts, opinions or feelings about something as probable, desirable or possible.*

: A distinct group of simple elements that creates a single impression.

Motifs most often accrue in larger, more complex compositions. Thus, two walls abut to create a corner and four corner motifs aggregate to form a square composition. The term also describes thematic variations perceived among formal sequences, for example a closed corner, a folded corner and an open corner.

· M: Of or relating to a motif.

: A course or direction in which a person or thing can move.

: A proposition that serves as the foundation for a chain of reasoning.

Also refers to a theory with multiple applications in a practice. Thus a

-   identifies the basis for a fundamental attribute that determines the arrangement of objects in a collective.

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