Tech Journal: "Design Elements" Chapter 1 Review Paper (2 of 2)

The Shape of Space and Figure/Ground Relationship

Just like specific forms elicit specific reactions in our brains, the shape of space, or the format, does as well. The author gives the example of a square format versus a vertical rectangle or a horizontal rectangle. A square is viewed as neutral, with no emphasis in either direction. This allows the viewer to really focus on the forms without giving much attention to the format at all. A vertical format, however, is perceived by the viewer as very confrontational, as it produces a simultaneous thrust downward and upward, causing the viewer to have to go over and over it. The horizontal format, on the other hand, relates back to the horizon and gives the viewer a sense of balance and calm. 

How the form and format interact can really add movement and interest to a design. A small form within a larger spacial format will have a closed-in, restrained feel, while a large form in the same format will seem “confrontational.” This relationship between form and space is also a relationship between positive and negative. The form, in most cases, is the positive with the space, or ground, serving as the negative. In some cases, a figure ground reversal occurs, where the form actually serves as the negative space, allowing the ground to come through as the figures. This play between positive and negative creates a hierarchy, provides the design with movement, and gives a three dimensional  quality. The relationship between figure and ground can often become quite complex and should always be handled carefully as to not confuse the message of the design and ultimately confuse the viewer. 

Just like when dealing with the figure/ground relationship, all forms in a design need to be “resolved” and “refined.” Resolve deals with each form having purpose for its position, size and interaction with other forms. Refinement refers to message that each form communicates. A refined form will very clearly communicate a single, unified message. These work together to ensure that all parts of a design are clear and have purpose. This logic of communication, not decoration should leave the visual consumer without questions and a comprehensive understanding of the intended message of the design. According to the author, a design that was not well planned or refined will leave the viewer both bored and uneasy. 

Source: "Design Elements: A Graphic Style Manual" by Timothy Samara