I enjoyed the trip to MASS MoCA and I found Sol LeWitt’s work to be quite interesting. I found that the order in which I explored Lewitt’s work also might have had an influence on my appreciation of it. I began on the middle floor, which consisted of more secondary and tertiary color schemes. This allowed for a more casual and pleasant viewing experience and made it easier to take in the compositions and color combinations, as opposed to the third floor. The third floor of this exhibit was more impressive for the viewer but only in that it provided a more thorough attack on the senses than the previous floor. Wall drawing 880 for instance was an interweaving of red and green lines and shapes that made me feel as if I were going to blackout. The competition between these two complementary colors at equal values and at such a size was a quite a sight to take in. There were several other compositions on this floor that I enjoyed but their overwhelming vibrancy eventually made me want to leave this portion of the show. Lastly, I visited the bottom floor which was the least colorful by far but also proved to be the most interesting to me. The sheer scale and meticulous nature if these wall drawings were inspiring to me. It was the craft of it that really impressed me. These compositions wouldn’t be particularly difficult to imagine, but to actually realize them, and on such a scale, was a viewing experience I will not soon forget.
This poster has a simple and powerful message, and it uses simple but effective techniques in communicating that message. With a bit of clever wordplay, or letterplay in this case, the designer is able to convey several ideas with just two words. The large bold letters and the overall simplicity of the design result in effective composition and succeed in getting the message across.
This is a classic example of the use of grid in architecture. It is clear that the designer had a very specific vision for the alignment of this building’s facade. It is very linear and draws heavily on the use of square and rectangular elements to establish consistency throughout the various levels.
This is a very straight forward but successful execution of the figure/ground relationship. It instantly draws the viewer’s attention.
I think this is an incredible example of craft. It is not something that I personally would want to employ in promoting myself but it is an impressive feat nonetheless. The thought and execution that went into this card are very meticulous.
I chose indignation as inspiration for a color progression for this project. The three general colors I chose were red, purple, and black. This composition is meant to represent the initial feelings associated with indignation and then the progression towards a more subdued form of anger. This progression is also represented through the number of squares throughout the composition and the order they appear