LESSON 14: IMPORTANCE OF BACKGROUND STRUCTURE 14.0 OBJECTIVES 14.1 INTRODUCTION 14.2 DEFINITION OF SPACE 14.3 CLASS D EMONSTRATION 14.4 ASSIGNMENTS 14.4.1 CLASS ASSIGNMENTS
14.5 SUMMING UP 14.6 TERMINAL QUESTIONS 14.7 REFERENCES AND SUGGESTED FURTHER READING 14.8 GLOSSARY
14. IMPORTANCE OF BACKGROUND In the previous lesson we learnt that the design itself is called the foreground or the positive and the base or the plane on which it lies is the background or negative. In this lesson, we will learn about the importance of background. Finally in Lesson 15 it will be shown how the types of spaces are balanced to create a design.
14.0 Objectives After going through this lesson you will •
Understand what is a negative space or background of a design and its importance.
The importance of background of design.
14.1 Introduction As described in the previous lesson, background is the space around the design and both the foreground and the background complement each other and together form a meaningful design surface. The look of a finished textile product is significantly dependent on the interaction between the two. A good designer must be aware of the importance of the background of a design surface and how it is to be aesthetically used. This aspect will be addressed in this lesson. The next and final lesson of this unit will deal with the important topic of maintaining balance between positive and negative spaces in a design.
14.2 Definition of Space The idea of space, in our context, refers to the area or background available to us, on which the design has to be made. It depends on what product we are working on. For instance it could be a bed cover, curtain panel, cushion covers of different shapes and sizes, dupatta, sari, scarf etc. We have seen in Unit 3 (Placement of Design) the various layouts for designs. However, there the motifs were placed in relation to each other and not according to the space or the background on which they were being created. Here we will learn to identify the different layouts based on the product surface we wish to design. The space that we are designing is very crucial to the final look of our end product. Let us take cushions as an example. The standard sizes that they come in are: 12’’x12’’, 12’’x16’’, 14’’x14’’, 14’’x20’’, 16’’x16’’, 18”x18” and larger or smaller sizes. They may also be of different shapes. For example, they might be circular or 1
triangular or three dimensional with a thickness or a gusset in various shapes like flower or bag, or anything depending on the theme you are working for. Depending on the profile of the customer and the look he wants to show, we can design our surfaces. If the consumer is looking for unconventional layouts the space needs to be treated in an interesting way, different from the general layouts. Therefore, the space and the placement of design on it are very crucial to achieve the exclusive look we are trying to achieve. Similarly, in a sari, the pallu, border, pleats area and the chest area are of design importance. These are the areas one can really play and experiment with to bring out the right looks of the sari and also do justice to the technique of wearing the sari. The dimensions of the sari are 45’’x 225’’.
Activity 1. Collect some samples of designs on fabric, which clearly illustrate the positive and negative spaces and paste them in a scrap book. Indicate the positive and negative spaces in these samples.
14.3 Class Demonstration Let us take a 16”x16” square cushion surface and see the different layouts one can create: •
All over buti (Fig. 14.1A
All over jaal (Fig. 14.1B)
Single or multiple borders (Fig. 14.1C)
Gradations from larger to smaller motifs (Fig. 14.1D)
Corner motifs (Fig. 14.1E)
Central motif- single or mirrored (Fig. 14.1F)
Single bands horizontally or vertically (Fig. 14.1G)
Off centered bels (Fig. 14.1H)
Envelope pattern (Fig. 14.1I)
Radiating pattern (Fig. 14.1J)
Asymmetric jaal (Fig. 14.1K)
Incomplete or part of larger motifs (Fig. 14.1L) 2
Fig. 14.1 Class Demonstrations
14.4 Assignments 14.4.1 Class assignments i) On separate cartridge sheets in a square of 16’’x16’’ make the following cushion layouts: all over buti, envelop design using a jaal, 2 borders one 2’’ and the other 3/4’’ all around. ii) In a square of 6’’x6’’ make compositions with flowers by placing them in various ways. Make 3 different layouts. Now colour these in 2 colours in the foreground and one colour in the background.
14.5 Summing Up Let us now summaries what we have learnt in this lesson: •
We have understood the concept of developing design according to the space.
The space refers to the product base in question. For instance, it may be a bed cover, curtain panel or sari etc.
We have learnt to identify the different layouts based on the product surface we wish to design.
The space and the placement of design in it are therefore very crucial to achieve the exclusive look we are trying to achieve.
14.6 Terminal Questions 1. Define ‘Space’. 2. What are the crucial elements of design which help us to achieve the exclusive look of product?
14.7 References and Suggested Further Reading 1. Bhavnani, E. 1982. Decorative Designs and Craftsmanship of India. D.B. Taraporevala Sons & Co. Pvt. Ltd., Bombay.
14.8 Glossary 1.
An abstract idea.
A piece of material sewn into a garment to strengthen or enlarge a part of it.
A scale of successive stages.
The act of radiating i.e. spread out from a central point
Not in symmetry
A fold of fabric held by stitching at the top or side.
Determine or Find out
To express in another language
14.3 C LASS D EMONSTRATION S TRUCTURE 14.1 I NTRODUCTION 14.0 O BJECTIVES 14.6 T ERMINAL Q UESTIONS 14.5 S UMMING U P 14.2 D EFINITION OF S...