In this final assignment, you will combine photography, line, texture and shape to design two dynamic and complex compositions that communicate an assigned theme. Both compositions are 9” x 9” and black or white only. Each study should be mounted in the center of an 11” x 17” page in your final submission portfolio. Delineate the boundary of the 9” x 9” image area with a .5 pt hairline.

Photographic Selection
Begin by selecting two different photographs that relate to the theme as assigned in your critique section. Consider several images prior to your final selection, examining both the formal and symbolic associations inherent in the representations. The photos may be self-authored or copied from books, magazines, newspapers, etc. Resize and crop photos to 3”x 3”, creating active, dynamic compositions. To convert color photos to greyscale (black & white), scan and change the color mode in Adobe Photoshop, or replicate with a copy machine (use “photo” setting for best results.)

Composition 1 (without Grid)
Place one cropped photograph in the center of a 9” x 9” image area. Then, develop a complex composition by layering interval systems, geometric shapes and/or textures into the format. Do not overlap or obscure the photographic image. Interval systems must be recognizable and legitimate. (Fig. 1)

Composition 2 (with Grid)
Placing the remaining cropped photograph in the center of another 9” x 9 “ format. Then, create a 3 x 3 grid using guidelines as shown. (Fig. 2) (These guides should not be visible in the final study.) Continue by layering additional elements as before, but strive to clearly articulate — but not overdefine — the grid.

A grid should not be considered a hindrance to creativity but an aid — a scaffold upon which infinitely varied forms can be built. The key design decision to be made when using a grid is how freely and loosely to adhere to the grid structure. Strict adherence to the grid produces static compositions. However, blatant disregard for the grid fails to take advantage of its unifying force. Therefore, strive for a balance between respect for — and violation of — the grid.

Considerations:
The formal content of a photo — its textures and shapes — should be exploited as a surprising and exciting springboard for composition. Create either strong unity or strong contrasts between the image and additional graphics.

Additionally, be sensitive to how graphic elements themselves might assist in the photograph in communicating a theme. Shapes (and their value, scale and position) have inherent associations which can greatly impact meaning.

Project Objectives
To explore appropriate, compelling, unique and dynamic visualizations of a theme. To introduce grids as aid in organizing visual information.
To increase sensitivity to and control of complex graphic/photographic compositions.
To develop and use objective visual and verbal criteria for the evaluation of composition and communication.

Evaluation Criteria:
Compositions are unique, complex, and dynamic.
Compositions incorporate significant contrast in value, scale, and density.
Compositions are sensitive to both figure and ground.
Both photographic and graphic form languages are unified and resolved.
Grid boundaries (in composition 2) are not over-defined or under-defined.
Compositions are precisely crafted, free of evidence of construction techniques.