Space as a key Element in printed Hanging Textiles Design

IOSR Journal of Research & Method in Education (IOSR-JRME)
e-ISSN: 2320–7388,p-ISSN: 2320–737X Volume 5, Issue 6 Ver. I (Nov. - Dec. 2015), PP 33-40
www.iosrjournals.org
DOI: 10.9790/7388-05612332 www.iosrjournals.org 33 | Page
Space as a key Element in printed Hanging Textiles Design
Mohamed E.Mohamed 1
, Basant A.Mandour2
1
(Associate Professor of textile printing, dyeing and finishing, Faculty of applied arts/ Damietta University,
Egypt
2
(Demonstratorof textile printing, dyeing and finishing, Faculty of applied arts/ Damietta University, Egypt
Abstract: Space plays an outstanding role in printed hanging textile design, as it represents the formative
design surface and participates in positive formation of the relationships between the rest of design elements.
Moreover, space can be divided in a conscious way according to the regular bases or in unconscious way by
which the designer imagine space as his own world where he could establish his own lines and shapes in
symbolic way. However and overthrows reconciled intellectual, mental and aesthetic visions. Moreover, as a
vital design element, the importance of space includes its size will affect both of the designer and recipient,
space shape and colour.
Keywords: Space; Design Elements; Space Part.
I. Introduction
Space is one of the basic elements in construction of the designs in general and in designing printed
hanging textiles in particular. Space has an impact on the effectiveness of other elements and is influenced by
them as it is considered a key to the design elements for composing an integral work with a creative value.to
highlight the importance of other elements in the design, Only traditional artists who handle space as an
ambiguous element full of illusion whilst to forget its ability.
Space gives a meaning to the picture and contributes to the interconnection of its internal and external
parts. Art is no longer limited to filling the space or distributing shapes in this space but it is an attempt to use
the same space. An artist can't make a work of art without having in his mind a vision of the space on which he
puts his work of art as well as the distribution of the other elements of the design in correspondence with his
philosophy. Therefore, style plays an important role in formulating the work of art whilst giving it its distinctive
features as style is an integral part of character. Artist style formulates the idea and effects space part in the
picture. So space part and its related distinctive styles indicate that there is a correlation between the character
nature and the final design. We might not say that space is one of the design elements as it is the main design
element where it is the base on which the other design elements are built. An artist cannot make a design
without having a vision of the space in mind on which will put this design in terms of its area, shape and colour.
II. Research aim
The current research aims at identifying the role of space as a basic element of design through space
part, space size and space colour, as well as analysing (space part) in some paintings to find out styles and not
rules that contribute to highlight the role of space in designing the modern printed hanging textiles.
III. The theoretical framework
1. Space:
Berenson [1] said that space composition takes us away from ourselves and gives us a feeling of
identifying the universe while we are still under its charm. Arnheim [2] reported that space is a call for creativity
and innovation .Moreover, space in the field of two dimensional designs is the plane area in which the designer
moves with his different elements to formulate the design unit. Space gives meaning to the painting and serves
to the interconnection of its internal and external elements [3].
Space is also one of the important factors which affect design construction and the regularity of other
factors and their relationships, so it is a basic means of arts for creativity and emulation. Every spaceis
differentin terms ofits (Morphology and nature of the visual, emotional and intellectualpsychological effect that
comforts usvisually, physicallyand aesthetic.Space also is known as a system of abstract that relates to the
essence of the artwork and determines the aesthetic propertieswiththegeneratedimagesfromitshistory [4].Linking
every internal and external part in a continuously flow of design and non-monotonic rhythm [5], Will led to
moving in or around or through the artistic construction.

2. SpacePart:
The impact basis of success of any artwork is to hold compatibility, variability, unity, rhythm and
balance.Dividing thespace istherefore something likeplaying melody where the success depends on
thesensitivityandmonitoring ofthese parts .However ,to fill the space of the picture and the artistic values where
these elements construct that melody, thepaintinglines, forms and colours are such elements should be
considered.
When the artistis trying to monitor space and beginsorganisingthe process, which issubjected to
differentparts such as;horizontal, vertical, diagonaland overlapping ,it will be bearing in mind that it is subjected
to factors as combinationandscatter, figure, ground, fullness,blocks against thesurroundingspace [6]. As far as
thepart ofspacestemsfrom theartist'spersonality, it could be postulatedthatthe quietorganised charactersare
inclined to a geometricpart ofspace.Even more, although the characters of emotionalnature are inclined to
anexpressivepart ofspace, but sometimesthe partmay be is a compensatedfeature (artistworksmay not reflectthis
personalitybut complement itand gets out of his innermostwhat cannotbe expressed inhisregularlife).In spite of
spacesis a fundamental property of humanconsciousnessbut notnecessary just conditionfor all existing, as our
consciousnessdeterminesthe spacein which we live. Infinite space andinfinite awareness aretherefore identical,
and the way inwhich we dealwithspaceorrealizeit, is one of thecharacteristics anddimensions of our
consciousness. However dividingSpace through planning the artworkeither consciouslyorunconsciouslycould be
shown at (Fig 1).
Diagram (1)Space Part
IV. Conscious Part of space:
Thepart ofspacemaybe derivedfromthe subject, the morethe artist thinks consciously, the more the
spacedividedsufficiently. However, because of it suggests for himtheshapes, colours and textureswhich relate to
the samesubject, eventually integrates with the content.Moreover,from the subject of the artistic features the
designerdrawsand analyses it into artisticelements such as lines, colourand textures from which he chooseswhat
ismore importantand appropriate tohis design.On the other hand, howhe expresses his feelings,and thusthe
subject becomes a sourceof inspiration and part ofspace [7].
Because of the art is not a random process but it is a process of installation and construction, it could be
said that,the artist must have his own artistic data with the assistance of his constructive ability, it must
beacknowledged thatartistic creativityin its coreis a combination of hiswillingandproductivework[8].
This kind ofspace partparticipates andmakesthe artisticrelationscome out in a think full manner where
every spacerepresents conveniently and interacts withtheother ambient spaces .Moreover eachcolour gives
thespaceits self-entity andmakes itdistinctivelyvitalfor the otherareas which play arolein creatingthe final form.
For example, we found that some artistsleavethe edges ofthe painting surface empty; and either it might
beto give thecenter of the painting itsentity, ordue to the desireto monitor the paintingsubject.Part ofspace:
1. Francesca(1415 -1492):
His works[9] are consideredpreciseexamples ofthe engineeringorganization. Herelied ongoldenratioin
the part ofspaceas shown in Fig (1), which hasstability and is used to ensure thecorrect ratiobetweenlength and
widthin rectangleswhichwe classifyfor windows, doors, picture frames and papersofbooksornewspapers, as well
as the ratio ofspaceabovethe skyline to thespacebeneath itand the background to forefront ratio.
2. Rembrandt(1606 – 1669):
The work ofRembrandt [10] relied on the distribution of the space light andshade, where he has
beeninterested inthat distribution .The light therefore has a specific path which pushes the recipienteyesto
gointhe same path. The artistputslight and darkcoloursin anawareandintentional mannerso as to dividespace.
However, it is notonly by lineand shape, butalso by colourand it'sgradual,
as shown in (Fig 2).
Space part
Conscious
part
Unconscious
part

3. Matisse (1869-1954) :
In most ofMatisse's[11] paintings, he used togarnish large areas of the surface withpatternsandrecurring
units,where almost does not leave an empty spacein his painting as shown in (Fig 3)
4. Klee (1879 –1940)
He [12,13]was not particularly inclined toshowthe depth ofspacein his works butrelied on the firmpart
ofspace as shown in (Fig 4, 5).
5.Picasso (1881 -1973) and Braque (1882 – 1963):
It was found that the works of Picasso and Braque [14, 15].as the conscious partof spaceby
drawingformatsfrom several anglesin attemptsto createthree-dimensionalformsona flatarea, Braque said: "I
likethe rule thatcorrectsmethod", that is it wasappealingto himto imposeon himselfworking ina certain
rangebecause he feltthat theexcessivefreedomwould make an artistPointlesslike a boatwithoutrudderorsail as
shown in (Fig 6, 7).
6.Herbin(1882 – 1960):
It's obvious that In Herbin'sworks [16] the part ofspacebythe intersection
ofthe circularlineswith each other, contributedthe part ofspaceby itsparts which
interrelateandderiveits unityfrom thesimilarity of itslevels incircular organization.
(Fig 8).

7.Albers(1888:1976):
Albers[17] his painting depends onthe complete geometrical pattern of spacewithunitslike squares and
rectangles and arranging themso that they communicatewith each otherdepending on the precise
mathematicalformulas, where every line, whether vertically or horizontallyis based ona certainparts, as shown in
(Fig 9,10, 11).
8. Escher (1898-1972):
Escher[18].hasrelied on thetraditional part ofspace, intersection ofthe unitswith each other andrepeating
themtocreate coherentspaceand the transferofeye fromone place to anotherin the paintingby applyingthe concept
ofinterchangingspaceas shown in (fig 12).
V. Unconscious Part of space:
It significantly relieson imagination that it is the freeactivityof the human mind, through which the
intellectualtreatmentof some attitudesorelementsis done in a new way. That attitude depends onthe rebuilding
ofpicture,provided that it doesn't make simulationordirectmatchingof the sensory,either cognitivesources ofthose
elementsor attitudes [19].
In this sense it isn't just an intellectual activityor abstractideas, but a diversify activity which may
havedirection to either physical a mentalor formativemental.In this manner the artistdepends on his broad-
mindedness and his imaginationcreativity andeventually reaches the unlimitedhorizon. Unconsciouspart of space
lays inthe artistthe deep part of himself. However,thatunconsciouspart which consists of a setof
memories,impressionsand attitudeswilldirectthe artistto significantly affecthis creationsadnessthereby.
Eventually; theartist works with his unconsciouslyfeelingsto gives hisconstructionthe vitality with the
necessaryrichness for the success ofhis art works.This could be said that aredue to the
spiritualandemotionaldepth.
1. Pollock (1912 –1956):
Pollock [20, 21, 22] said about his painting: "When I am in painting, I am not aware of what I am
doing, but later on, after a certain period that I had a look to what I had been about and becauseof the painting
has a life of its own, I have no fears about making changes or even destroying the image to make it come
through". In fact he expressedhis psychologicalfeelingsmore than expressing what in his mindby up childish
manner. On the otherhand, He immersedin his workand recognized itonly whenhe puthis brush aside. That is
when he becamein therealizationphase, so spacehas always appeared in a stateofconflictand motivatedfrom light
todarknessand fromwhite to black as if it is tearingthesurface of the painting work.it could be said thatspacesare
swinging betweenchaosand order.
Although Pollock relied on fillingthe painting space withdyesandcolours but not only makes use
ofthepossibilities ofhis hand, but alsothe possibilitiesof his physical beingas a whole. He dependsinthe part ofthe
enormousspaceofhis paintingsonhis spontaneityand the rotationof his bodyduringpracticing theartisticprocess
within thestudiospace.
Although Pollockrefusedto treatthe painting spaceasa specificframework,and the painting space
extends to the outer space in one connected unit, butit could be said that hislineshave not beendefined by the two
dimensions painting as shown in (Fig 13, 14).

2. Francis (1923 -1994)
It could be said thatthe works ofFrancis[23] employedcolourin the artworkby usingthe brushstrikes in
particularforms.Thismethod allowed splashing and using large amounts ofcolour, so as torun over thesurface of
the paintingdynamicallyandtense.On the other hand, toformrandomshapes of emotional effects whichare highly
dependenton chancein composition, and thus spacetakesthe same degree and importance ofshapes as shown in
.Fig (15).
3.Miro (1893-1983):
It could be postulated that Miro [24] method is basedon using the part ofspacethrough spontaneous
distribution of symbolicand imaginaryshapes in space as whole as shownin Fig(16).
4. Hofmann (1880-1966):
Asalsohas seenin the work ofHoffman [25] who dividedby colours the spacespontaneouslyas shown in
Fig(17).
VI. Space Size:
The Space occupiedby a design (whether it ison an areaof paper ortextile) has its external
ratioswhatever form it takes.Spacein this sensetherefore does not have aparticularsize, since anychangein the
space sizeas differentthinkingin the whole design, will be founddifferent.
Any designmay seemacceptablewithin a particular space size, but not acceptable ifthis space
sizeincreased or decreased, andthisfindingemphasizes the importance oftaking into consideration theratio
between space and design [26].For example, because of the belief that large dimensions are strong reason to
uphold the design,Rothko[27] and Thaler [28] painted over large areas as shown in Fig. (18, 19).The point of
view of them thatpaintingover large areas is one of magnificentand powerfulthings.Theybelieve thatdrawingon a
small space sizemeans that artistputs himselfoutside ofhis experienceand looking at his experiencethrougha
miniaturetelescope.On the other hand, whenthe opposite happensby drawingon large spacesize, the artist
become part of it.
Fig (13) left .Untitled, 1950. Ink on paper .
Fig (14).right,Number3, 1950,
oil colors and dyes on canvas.

Although Barnett Newman [26]had a privategoalandphilosophybehind paintingover large spaceareas,
but sometimesclose tothe size of wall. The goalwas togivea directsensethat attracts the
viewerperceptiontoresponddirectly, by whichhe is wantedto switchthe viewer frombeing aspectatortoa partner in
thework of art
VII. Space shape
In fact, although the importance of space as a key element of the design includes the shape of space but
the form of space (work surface) may differ.In spite of that, some have preferred the rectangular form and
considered that it is the form nearest to the aesthetic geometric proportion (The Golden sector), but it is possible
to be (Rectangular - square - circular .etc.) depending on how different the form of the space,in spite of the artist
thinks differently as well as the way of exploiting space .On the other hand,some artistshad tried to get away
from the rectangular or square surface to break the artistic routine, as Frank Stella[29] who is described by
RosenBlumto whereconstitute his drawings on the painting to fit the surfaces on which they are put. In his
works, could be found that the space and shape have merged into a single form.
Michael Fried [30] said that,Stella paintings stems from an awareness of its surroundings,it wouldn't
even know if the frames came from the drawings or the drawings came fromtheirframes as shown in Fig
(20).Moreover,it could be seen that a variety of space shapes had been made by Mondrian [31] and Picasso [32]
paintingsas shown in Fig (21, 22)
1. Spacecolour.
As would be tend to use bright colour in case of black space,and as far as Francisco Goya[33] painting
as shown in Fig (23),the colour of space (back ground) imposes other colours used in design . On the other
hand, some artists prefer to use white space to make a high contrast with other design coloursas Fernand
Léger[34] painted as shown in Fig. (24).
Fig (23) FranciscoGoya, Two old Men
Eating Soap, 1823, oil on canvas.
Fig (24) Fernand Léger, The Railway
Crossing, 1919, oil on canvas.

VIII. Experimental Work
1. The first design:
The present experimental design is showing the Spontaneity in overlapping lines where it liberates
from all logical and mentalrulesas shown in Fig (25). The design is showing that the unconscious part of space
is considered as the follower in this design. Also, could be seenthat the strong movements of lines is in different
directions within the design space.
Fig (25) the unconscious part of space
Moreover, white colour is used in design to make contrast with black space. Smalldetails in design suit
the size of the textile hanging after printing (100 X 30 cm).
2. The second design:
The conscious part of spaceon a colorful space is followed in the second design because it depends on
conscious repetition of black shapes asshown in Fig (26). Also, overlap in this design makes us distinguish
between advancing and retreating shapes and thus inspire space depth. Moreover, the distribution of shapes suits
space size after printing (80 × 30 cm).Fig (26).the Spontaneity by using large areas of black space
Fig (26).the Spontaneity by using large areas of black space

Fig (27).Infinite Space
3. Thethird design:
This design depends on Spontaneity by using large areas of black space which is overlap with shapes as
if constructing a dialogue between shapes and space. This large size printing (120 × 70 cm) designspace is to
create a sense of infinite space which forces the imagination to go deeper and further than the limited design
frame .
IX. Results and discussion
From the present research it could be postulated the following points:
 Space part in conscious or unconscious way issignificantly depends on the designer sensitivity and
emotional factors.
 Space size and colour determine the design colours and details.
 Space as a key design element contributes to createabnormaldesigns forprinted hanging textiles.
References
[1] G.Coiler, forwarded by sir Herbert Read ,form, space and vision, Prentice-Hall publisher, , New York, 1963,p 30
[2] R.Arnheim, Picasso's Guernica, London, 1962, p 124, ISBN (978-1127428427).
[3] A.Riyad, composition in plastic arts, Arab renaissance publisher,Cairo, 1977, p167.
[4] Mohamed, Spacein Islamic arts, Majdalawi Publisher, Jordan, 2008, p135, p135 ISBN (978-9957-02-319-5).
[5] D. Preble and S.Preble, Artforms, Hasher Row Publisher, 3edaddition, New York, 1985, p80, ISBN-13: 978-0060452681
[6] S.Abdelghani, Space in Plastic Arts, Supreme Council for Culture, cairo,2007, p5 ,6 ISBN (977-437-422-3)
[7] E.Shawky, Art and Design, Cairo, 1968,p33.
[8] Z.Ebraim, Art Problem, Cairo, 1968, p33.
[9] P.Francesca .www. Mystudios.com
[10] R. Rijn.www.rijksmuseum.nl
[11] H. Matisse.www.famousartistsgallery.com
[12] P.Klee.www.abcgallery.com
[13] P.Klee.www.dailyartfixx.com
[14] P. Picasso www.studyblue.com
[15] G.Braquewww.midi-france.info
[16] A.Herbin.http://frenchartcollection.wordpress.com
[17] J.Albers. https://www.isaora.com/blogs/isaora/14992781-josef-albers-the-artist-as-teacher
[18] M.Escher. http://www.mcescher.com/Gallery/recogn-bmp/LW413.jpg
[19] A.Rahman, Design philosophy and styles, Faculty of art education, Helwan University, 2007,p66
[20] J. Pollock, (My Painting), Possibilities, New York,1947 ,p 79
[21] J. Pollock. www.moma.org
[22] J. Pollock.www.saatchigallery.com
[23] S.Francis www.gallerywalk.org
[24] J.Miro www.guggenheim.org
[25] H.Hofmann.www.artic.edu
[26] B.Newman,PersonaGallery,New york,1974, p 2
[27] M. Rothko and H. Franken Thaler. www.tate.org.uk
[28] F.Stellawww.galleryintell.com
[29] R.Blum, Stella, U.S.A, 1971, p.4 ISBN (9780140706215)
[30] M. Fried, (Frank Stella) In Toward new abstraction,New York,1963,p 28
[31] P. Mondrian.www.piet-mondrian.org
[32] P.Picasso.www.reproduction-gallery.com
[33] F. Goya.www.the atlantic.com
[34] F.Léger.www.lessingimages.com

Space as a key Element in printed Hanging Textiles Design

More Related Content

What's hot (20)

Similar to Space as a key Element in printed Hanging Textiles Design (20)

More from iosrjce (20)

Recently uploaded (20)

Space as a key Element in printed Hanging Textiles Design