The separation that exists between two objects can fluctuate, depending on point of view. Closeness and remoteness are relative. Two lines are parallel when they lie on a similar plane and are at equivalent separation from one another consistently. No matter how long they become, they will never cross. The terms negative and positive identify with inverse qualities, for example, dark and light, curved and straight, full and empty. A frame is called positive or negative, depending on how it appears in relation to the environment. Typography that is a lighter color than the foundation it is placed on is negative. A shape that can be filled with fluid (for example, a water bottle or gas tank) is negative. In the event that something is expelled from a frame, the first shape is positive, while the new frame is negative. A transparent object is see-through, for example a window or a fish tank. Light radiates through it, normally with the intent that the objects that lie beyond it remain visible. At the point when two objects are situated beside one another and share one common feature, they are tangents. When one object covers another, even partially, it is overlapping. When two objects combine to make one, the new composite shape is known as a compound shape. When one of the overlapping objects is removed from the composition, this is known as a subtraction. Where there once was shape and definition, there is now negative space and implied absence of an object. When two objects have similar shape and size and are arranged in an overlapping manner to which all boundaries of the objects line up, for example stacking two quarters one on top of the other, they are coinciding forms. When one small object passes through another larger object, for example a train in a tunnel, this is known as penetration. Pushing a material through an opening with the intention to change the object being pushed is extruding- for example, pasta dough being pushed out of a pasta machine. Once an object has changed its shape due to an interaction with another object, it has been impacted. Items can likewise impact one another. Once an object has been even slightly changed, it has been altered. This alteration does not change the basic properties of an object, but rather small nuances in alteration and combination in objects can create visual interest and balance.
Works Cited:
Leborg, Christian. Visual Grammar. Princeton Architectural Press, 2006.
Above: Image source: https://www.bloglovin.com/blogs/wild-greens-sardines-17787813. This is an example of expelling the expression of an object that previously had a smooth form- and the pasta machine forces ridges into each piece of pasta. Pasta dough is a pliable medium, and can be formed into many different shapes.
Above: Image source: http://www.plasticayarte.com/2010/06/pierre-le-tan.html. These are the illustrations of Pierre Le Tan, who uses exclusively fine lines to create his sketches. Though the lines that shape the trees and side of the road- the visually heavier parts- intersect, the lines that make the road and sky do not intersect, they are parallel.
Above: Image source: https://www.designboom.com/readers/geometrically-stacked-objects-by-emiel-remmelts/. This project is a good example of generally how 3-D forms interact with each other. Dutch graphic and product designer Emiel Remmelts "has created ‘stacked objects’. the project is influenced by the Russian architect and designer El Lissitzky, known for his abstract geometric shapes that contained varying 3D perspectives. The stacked objects on the shelves of Emiel Remmelt's work are used to form a dynamic composition, similar to the method of making a collage. The beginning of the project was based on the construction technique, the joints and the materials that were to be used. Each composition is unique and defines the overall aesthetic of the furniture."
Above: Image source: http://mesastucesmodeetdecoration.blogs.marieclairemaison.com/archive/2010/04/02/couderc.html. Here we see an example of the photography of Pierre-François Couderc, "a remarkable photographic work on plant matter. All these photos reveal to you the consistencies, the veins, the imperfections, the colors, the voids, the forms, the infinite of this hidden living matter. I played with my inner visions, I crossed some mysteries of nature, I "illuminated" thicknesses to give them life, I took advantage of my eye to examine the interior; I will continue my exploration to satisfy my fantasies: to encounter the matter with the help of light."