Negative areas (ground) are just as important to a pictorial organization as positive areas (figure) and should be given strong consideration.
Materials:
Drawing materials: pencil, scissors, mat knife or Exacto knife, black and white construction paper, rubber cement.
A) In a rectangular frame shape (about 8" x 10"), using black paper and white paper, cut out at least seven black shapes (solid or linear) and arrange them on a white background. The shapes may be either rectilinear or curved. Emphasize the black shapes as the positive shapes. The linear and/or solid shapes may be repeated and their edges lined up to create a patterned rhythm for pictorial unity. Actively involve the edges of the composition. Use rubber cement to adhere the shapes to the background (Fig. 1.3A).
B) Reverse the shapes of Part A. The white shapes will become the positive and black paper will be the background (Fig. 1.3B).
Parts A and B may be mounted or matted as one total composition.
While some subject matter may lend itself more easily than others, the same concepts apply to nonobjective or figurative imagery as in this ink drawing. In addition to black and white be sure to try contrasting colors. A color Xerox machine or a printing company like Kinko’s can reverse the image. (Figs. 1.3C and 1.3D)
The basic problem can be applied to many media. Instead of rubber cementing the black negative cut out pieces, they could be placed on a piece of paper under an open silkscreen printing frame and a limited edition of prints could be pulled (Fig. 1.3E). Obviously, the white positive cut outs would work equally well as a paper stencil, it often depends on the contrasting nature of the paper you work with. White shapes are more difficult to organize on white printing paper. For a different approach, the pieces could be cut out of heavier material such as thick mat board, glued down, and printed like a woodcut or relief print (Fig. 1.3F).
Figures submitted by Tracy Ruhlin, Instructor of Art, Bowling Green State University, Bowling Green, Ohio and Debra Babylon, Instructor of Art, School of Design, Toledo Museum of Art, Toledo, Ohio.
