Expanded Rectangle
The Dynamic of Positive and Negative Space in DESIGN
INVESTIGATING proximity and spatial tension in relationships
Acknowledging Design Principles of:
• VARIETY
• RHYTHM/MOVEMENT
• HARMONY
What does Proximity mean?
The quality or state of being near.
How does this apply to our Expanded Rectangle project?
You’ll be cutting out shapes that will be travelling positives. Wherever you
place them in the surrounding space, you will be activating a relationship based
on its proximity to another Positive. But you will also be able to define an open
negative space as an integral Design Element, sometimes as dynamic as any
positive Shape. It will be the proximity of the positives to one another that
makes this occur via spatial tension and the contour of the shapes involved.
Wait and see!
This image tells the tale of
“LITTLE RED RIDING HOOD”
This image consists of mostly Black positive
shapes, set in proximity to one another in a
way that accomplishes several things:
• Defines the contour of a Wolf
• Depicts a Forest of trees
• Allows a larger shape to pose as a
clearing in the forest where a very spare
shape in Red identifies the girl in the
story. . . And she is inside of the wolf.
True that the designer may have been
commissioned to arrive at a powerful image
for this story. There wasn’t a limitation but
indeed . . This is an economical use of space
and material!
This is a poster for silent
movie featuring Charlie
Chaplin.
It’s the proximity of some otherwise
very abstract shapes that define the
iconic face of the actor, along with his
trademark moustache and bowler hat,
on a light violet ground of negative
space.
For us to see a figure or figurative
element, placement is all you need to
suggest a FACE or even a body. In this
case, the scale and placing it closest to
the bottom edge EMPHASIZES the
leading role.
This is an example showing
how just by employing a
variety of shapes can lead to a
similar suggestion.
You can still see the footprint of the original
4x6” rectangle of black paper.
You can also see the variety of shapes that
were cut from it, removed and placed in the
surrounding negative space . . . And how,
very unplanned, taking time to experiment
with possibilities of proximity led to what
appears to be a Face.
Please note that there could have been
MANY outcomes here. The goal for this
project is to work in all 4 directions, away
from the original footprint, and create an
ASYMMETRICAL DESIGN.
The same 4 x 6” piece of Black
paper at work here.
Notice the repetition of a pointed oval
shape . . . But also the incredible
VARIETY of shapes that are included.
Shapes with smooth edges.
Shapes with jagged edges.
Sinuous linear shapes in different
thicknesses.
This student really made use of all the
real estate on that black rectangle!
Nothing went to waste here. The small
circles, diamond shapes and others
create interest and visual movement!
Another Student
project:
Here we can still feel the footprint
of the original rectangle, especially
because of how much mirroring of
shapes occur and remain on the
edges.
Corners are also still referenced
strongly.
Some shapes, though still tightly
situated on the edge of the
footprint, are played with a bit –
flipped in orientation.
This IS an asymmetrical DESIGN but
stays very close to home base.
This one does as well
but . .
The dispersal is playful and more
experimental. The use of repetition
allows the checkerboard pattern to
play a role here.
What is important to see is how the
shapes of Chess Pieces are placed
and cut. They are just shy of the
edge of the black paper. This allows
them a visual footing.
This student also mixed up some of
the pieces and decided it would
create more interest if they were
not mirroring themselves.
A nearly mathematical dissection of
the entire 4 x 6” space led to this
amazing image
This image, even with this
degree of abstraction, is
an exemplary example of
how Positive and
Negative shapes can be
so strongly graphic in
representation.
This student took inspiration from
Picasso’s Guernica
Picasso’s masterpiece was a mural
that expressed the horrors of war in
a Spanish town.
Here we see dramatic shapes move
in all 4 directions from the original
space, engaging in a balanced and
dynamic Design.
Two more Student Interpretations
The Rules for this project are straightforward. All of the pieces you’ve
seen in this lecture followed them in their own creative ways.
• Everyone begins with a 4 x 6” rectangle
• Every piece of that needs to be used
• Every Design must be ASYMMETRICAL in Balance
• Every Design must expand in all 4 directions
• While mirroring can be used, you are encouraged NOT to depend
solely on this method as it can be restrictive.
• All Designs must be centered of a sheet of Bristol regardless of the
space that is used.
• All rubber cement that is left exposed must be removed carefully with
the rubber cement pickup before final submission.