Exercise: Illustrating visual space

The aim of this exercise is to gain an awareness of the visual effects of objects in relation to one another in terms of scale, positioning, shape and space/distance.

Using internet searches/own visual references select an image of each of these:-

A tree A child running or walking A building

This is the beginning of the exercise to select the above. Usually I would launch into the exercise at surface level however through completing coursework 2 and receiving Tutor feedback I now have a more informed understanding of the creative process. The need to really look at the exercise and the reasoning behind the process.

Rather than choosing individual images perhaps they can be linked and an idea can be communicated. Is it an urban environment or rural? Why is the child running/walking? are they going somewhere ? Perhaps the child is going to school or going home or out seeing a friend.

As a starting point I find some images of children running from searches as suggested:-

or may be:-

Although in the above image the child is looking out towards the viewer and I would rather the child not be the observer in this exercise.

So then consideration is given again to where or why the child is running. I decide to place the child near their home environment and in the context of today. With exercise restrictions being lifted this week following lockdown, the child could be enjoying being outside more after being cooped up in a high rise flat:-

So a child expressing freedom lifting their arms as they run is more appropriate:-

There is now a link between the child and the building and the urban environment is established, so a suitable tree can be selected.

Sifting through tree images. An oak tree would appear too large:-

A slimmer tree would be better, however being May there needs to be some leaves showing:-

This next tree is ideal – ie medium sized with some leaves:-

The tree, child-running, building are now selected. It feels good to have connected them in to a theme relevant to today – the child enjoying more exercise outside their family flat after some easing of lockdown:-

The next stage is to experiment with scale and composition. Here are the images almost to scale as they may appear in reality. The block of flats dominate, imposing in relation to the tiny figure who appears almost lost in the narrative:-

If the tree is enlarged, this gives more emphasis to the environment:-

More equality can be established by making the child bigger. However there is little spacial distance of interest:-

By placing the figure above the flats this reduces their dominance too. The child is leaping in the air above the flats however it is not easily interpreted and it could be read as the child running towards the flats.

Distance can be created with a small block of flats and a nearer/larger figure. This tells the story of leaving the flats behind:-

If a horizon is drawn at the base of the building and tree, it gives further evidence to the child going out as though “drawing a line” under being inside.

The flats could be shown on the left side of the page. However with the doors pointing away from the figure, the connection of the figure running from the building is not as strong. This could be interpreted as the child leaving the building further behind however if this is too extreme, the link of the child to the building may be lost. The child’s head/face is directed to the left, so it is best if the building is kept to the right, otherwise the child is looking back at where they came from and this is not in keeping with story of the child happy to leave the indoors and be outside.

By including gradually enlarged copies of the child running, this gives a sense of movement together with depth in the visual space:-

Doing the opposite for equal effect in making the buildings gradually smaller does not work as well as buildings in themselves do not really move.:-

It is possible to describe a moment in the journey by dividing up the background, middle ground and foreground by horizontal lines. ie “Ground” the objects and figures in time. Also by giving the tree more importance the story is told of the boy running towards the park or countryside.

As required by the exercise the three subjects have been placed aligned horizontally and vertical to the paper edges. This gives a feeling of stability. By enlarging images and experimenting with visual space a sense of stance and perspective is introduced. Trialing the subjects at angles as directed helps to produce more movement, emotion and dynamics. It feels as though the boy is now running, flinging his arms in the air as he does so :-

In completing these images this is the one I prefer:-

The block of flats are left behind held static/solid on ground horizon. The boy is moving in an angled run, one foot in the air, his hands in jubilation at more freedom and now more in relationship to the tilting tree, a symbol of the outdoors to which his head is turned towards. By tilting the tree it also seems the ground is moving as he runs over uneven paving or moves around grass mounds. He may be running towards the local park or off to social distance with a friend he has not been able to meet up for a while.

I have found this exercise purposeful in being able to give it meaning to events of today. Having this initial relationship of story brought the three subjects into context and I found it easier to work with them in creating distance and space.

This exercise has also sparked a research into composition and perspective :-

According to John Ruskin in the “Elements of Drawing” composition means putting several things together (eg thoughts, colours, forms) into pleasant order. So each subject has a position assigned to it. No subject is independent but are arranged to the best advantage of each other. Although there are no “rules” as such to composition, Ruskin sites some general terms of arrangement with help with composition:-

The law of principality (similar to hierarchy) – determining that one feature which will be more important so that others in the group have subordinate positions (ie one figure, colour is larger, more dominant than the rest). The example is given of these three leaves where C is more detailed. B to a lesser extent and A least:-

2. The law of repetition – brings harmony of balance and symmetry among the objects., but not in a formal accurate way, more in reflection or echo.

3. The law of continuity – gives an orderly succession to a number of objects which are more or less similar eg, a succession of clouds or mountain peaks one behind the other perhaps of slightly different shape however following in calm, appointed order. If the shapes do not change there is only monotony however subtle changes allow subjects to be free, yet submitting to the “law”. ie rather than inflexible imposed law, the unity of subject (although each different) serves to be obedient and harmonious to the law.

4. The law of curvature – Ruskin writes that curves are more beautiful than straight lines. So in a good composition continuities of object, mass, colour are best in curves.

1-4 laws is arranging objects in beautiful lines or processions. The next laws are to make them into groups.

5. The law of radiation – connecting lines to a point or springing forth from it. An example of branches of a tree radiating out from the trunk:-

6. The law of contrast – or opposites eg light/dark, straight/curved, contrast in colour/tone/shape etc. to bring interest and value. Perhaps a break in the continuity to banish any monotony and introduce an element of surprise.

7. The law of interchange – to give unity to opposite subjects. ie they share characteristics of eg colour or design.

8. The law of consistency – a certain tendency of consistent assembly of any divisions.

9. The law of harmony – – this is about balance, overall tone, (the opposite of dissonance), resolution.

Although Ruskin provides these guidelines he also eludes to composition as a kind of instinct of discerning what is best in natural expression of subjects and sensitivity.

Of note perspective is also linked with composition. While not detailing too much on perspective the main concept as John Hamilton explains in his book “sketching with a pencil” is that “objects tend to converge and diminish as they recede into the distance. When they actually disappear at the horizon, they are said to have reached vanishing point. A line of trees or a railway track are good examples of this:-