Journal of International Scientific Publication

JournalofInternationalScientificPublication: EducationalAlternatives,Volume11,Partʹ ISSN1313-2571,Publishedat:http://www.scientific-publications.net

A SEMIOTIC APPROACH IN TRAINING „THEORY OF COMPOSITION“ WITH STUDENTS MAJORING "ENGINEERING DESIGN" Stela B. Tasheva, Institute of Art Studies, Bulgarian Academy of Sciences, 21 Krakra Str. 1000 Sofia

Abstract Heuristic constructing of a composition scheme is a fundamental skill for designers. Years of composition studies in the arts have shaped some distinctive interpretations on the subject in many design schools. So far the potentiality to inspire innovative and creative thinking has emerged as an important direction in the process of teaching. The report aims an initial exploration on the use of some semiotic ideas in training processes. It suggests setting exercises with students while dividing them into two groups and giving them to analyze, compare and design contrasting semantic objects – antonyms. Splitting attendees into teams and working on tasks with equivalent objects are widely used techniques in the practice of design teaching. Still this report modifies this technique as a cognitive method based on the concepts of „semiotic square“ and „semantic differential“. Thus the activities of the groups are not focused on understanding a problem as a unique item, but on the juxtaposition and evaluation of two opposing problems. In conclusion the paper discusses the appropriateness and scope of such teaching technique. Some results of the approach are illustrated with examples from several exercises in composition design. Key words: theory of composition, training composition, semiotic approach, contrasting semantic objects - antonyms, design education 1. INTRODUCTION According to Malone (2009, p.31) Heraclitus, who is often quoted as the founder of dialectics, claims that “All things come into being by conflict of opposites, and the sum of things flows like a stream.” Fighting opposites are basic for a large number of philosophic schools and doctrine, and also are justified and modeled in various aspects within information theories. Respectively to their type and degree of difference, these battling objects are called in addition mutually exclusive, incompatible, inverse and so on. In the report, they are marked with the common term «contrasting». Some particular applications of contrasting objects took place in the training classes of «Theory of Composition» with students profiled in «Engineering design» and are explored in the text below. The main educational approaches applied in this course in the University of Forestry in Sofia are fully explained by Zheleva-Martins (2006, pp.323-328). The discipline is developed to open the main ideas in art composition philosophies and methodologies in series of lectures and training classes. Instead of creating one design project, the essence of the training classes is crafting of a number of small, conceptual tasks following the lectures and using drawing techniques, models, or visualizing software.

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This way students are forced to enrich their visual thinking and expressing skills, explore the use of major developments in design theories, and finally to create their own point of view. 2. SEMANTIC CODING AND CREATING CONTRAST The term “contrast” is commonly defined as: “the state of being strikingly different from something else in juxtaposition or close association”, (Oxford Dictionaries, 2013). Meanings of the word “contrast” can be found in different areas of knowledge, covering the synonyms mentioned above. In photography, contrast is explained as the relative difference between light and dark parts in an image; in vision contrast ratios are used to express the differences in color or in brightness between an object and its background; in linguistics, contrast is a specific syntactic relation – causative sentence connector, that compares two different values or applications of one and the same quality, or represents a difference between sounds, used to distinguish meanings; in theory of literature contrast marks situations of confrontation, and so on... A full, hundred percent contrast, exists much more as a logical construct than as a real life fact. In visual disciplines contrast is usually modeled as ratio, and there are high and low ratio values. The human judgement of contrast is usually not quite precise and it outlines not one strict rate number, but whole areas of close values. A relative contrast ratio may be found as numerical semantic differential scales (as in the task to evaluate the sense of contrast from 1 to 7). The labeled and unlabeled scales, as for example the ones defined by Garland, (1990, p. Table 1), can also be used to express contrast. Even though these two are a quantitative but not qualitative tool, they are in bipolar relationship and suggest linear evolution of the contrast, from one point to another. Another model of contrast relationship may be found in the concept of Greimas semiotic square, as explained in Hébert (2006). There the two contrasting items (term A and term B) are connected and explored with their negations (terms Not-A and Not-B). Thus the contrast relations are delivered broader, in four non-linear areas and their links. In theory of composition, contrast is a tool used for rising the interest and/or achieving a chosen artistic effect. In design practice, contrast may be produced by light, shadow, colors, size, line types, silhouette, form, material, texture fractures and characteristics, emotional intimations, rationally derived differences, movement, peace, style features, etc. Respectively, excellence in compositions may be hunted by applying contrast in any of those aspects. Precise understanding of possible contrast aspects positions and degrees (Figure. 1) strenghtens the ability of a designer to express his ideas and to impress the viewers. The application of the semiotic approach and the analysis of semantic based contrasts in the training classes are the main exploration target of the study. The theme of semiotics (the science exploring signs) in the course of "Theory of Composition," introduces basic coding terms, processes and techniques. The main purpose of semiotic trainings afterwards is to teach the students to recognize sign-elements, to apply the existing or to create new codes in their designs. Through semiotic methodological apparatus students are probing their own capabilities to express various meanings and achieve different levels of cultural coding in design elements and objects. In the beginning students train to recognize different types of signs - icons, indexes and symbols as defined in The Commens Dictionary of Pierce's Terms (2003) and to trace their use in design situations.

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Then they create graphic compositions on given topics, while experimenting with the information input, with their own sign systems, and focused on chosen elements to achieve artistic effects.

Figure 1. Various representations of “black and white” contrast connection. In the report, we are analyzing two tasks administered in the winter semester of 2012. Their final stage is creation of an image with semiotic characteristics on a given topic. The task requirements contain elements of complex semantic contrast that must be explored by students. It is also suggested the use of storytelling, rather than abstract compositions, as to help the students to focus on semantic encoding of their images. 2.1

Case Study 1: Solar and Lunar Imaging

The selected topic for the first task are the Sun and the Moon, but such semi-contrast relationships can be traced in semantic comparisons between other couples of terms, such as the elements of "fire" and "water", kinship as "father" and "son", philosophical categories like "spirit" and “matter”, etc. Although those dialectical pairs are in strong opposition in some context, there is also a broad area of of their common characteristics. For example, apart from their astronomical nature, the differences between the Sun and the Moon, are of course in their appearance, their time of presence and environment, their size, color, light reason or strength, impact, perception and etc... The common about them may be found as they are both celestial bodies, they both light the Earth, they are both easily visible from the surface, and are individually or together participants in a huge amount of stories, myths, legends, religious beliefs, cultural traditions. In the beginning of the exercises, without prior explanation, each student is asked to name "Sun" or "Moon" as a symbol, that he would like to investigate during the lesson. Thus, two groups of students are formed, who then begin to discuss and make lists of the semantic characteristics of each celestial

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body. One person in each group is selected to monitor the increasing number of features of his group's symbol, so an element of competition also appears in the discussion. After some initial listing of characteristics and general mapping of bipolar semantic fields for the selected globe, the groups notice that many of Sun's features have contrasting reflections with some Moon characteristics. (If the Sun is felt as "warm", the Moon is felt as "cold", if the Sun shines in the "day", the Moon shows up in "night", etc.) Usually these features are inverse or are felt as completely conflicting due to contrasting cognitive effects of their perceptions one immediately after other. Directed carefully by the teacher, students form their own heuristic methodology of finding semantic fields by the use of already found features and implying the expected bipolar contrast. The groups are encouraged to trace the differences in perception of the Sun or Moon due to any cultural or subjective visions and distinctions. One of the raised discussion is usually the possible "sex" of the celestial bodies, as the students see it, or as a reference to popular myths and beliefs. Gradually certain similarities between the globes are also revealed. (If the Sun is associated with “life”, the bipolar relation implies that the Moon must be associated with “death”. On the other hand the Moon is believed to influence phases of pregnancy and living, and to be involved in creating life processes, and Sun also could be disastrously hot and cause and mean death. Or as the Sun is connected with "growth" and “green”, also the Moon is connected with "high tides" and "harvest", etc.). Then the students are encouraged to grade the bipolar connections, to define the degree of their differences and to name the most expressive and the most common features of the globes. Afterwards the teacher raises the question about the existence of “Not-sun” and the “Not-moon” object and features. (Usually the first suggestion of “Not-sun” object is just the water or the wind, but the semantic field broadens quite fast.) The purposes of this part of the exercises are first to activate the students' attention and partnership and at the same time to make them make the fullest possible register of semantic characteristics of any bipolar pair, based on their mutual knowledge and enthusiasm of participation. Later on in discussion mode the listed features of the Sun and the Moon are distributed in different sign categories – as possible icons, indexes and symbols. This operations often reveal new, overlooked features. (If stars are indexing the existence of the Moon, which is the respective index for the existence of the Sun? If we can use the beach and the summer romance to symbol the Sun, how the beach and the romance are going to change as if to express the Moon? Is the Sun symbolizing the Moon in some degree and vice versa?) In the concluding part of the exercise, the students are assigned to create image – storytelling composition, in which they are coding one or more of the features of the globe, they have chosen previously. In addition students are offered to search more information about the themes of Sun and Moon and to present their data and final images to their colleagues. They also must find a number of examples of the use of solar and lunar symbols in the design practice. Within the described way of processing the data, task conditions and sharing the information in the groups, the observed ease of perception of the semiotic approach is noteworthy. The creative spirit raises and we received overall high performance of a lot of students. In the resulting compositions student are expected to train their skills to visualize and accent the degree of importance of certain characteristics. The final images presented can be grouped into several sections: x Images interpreting solely the Sun and its specific characteristics, like those on Figure 2.

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In them students are trying to locate the most impressive Sun features – such as the existence of shadows, the time flow or the sense of nature and growth and to express it in visual way.

Figure 2. Compositions about “The Sun” x Images expressing solely the Moon and its specific characteristics, like those on Figure 3. In them students are making accents on the sleep, the sense of night and the search for romantic lunar symbols.

Figure 3. Compositions solely expressing “The Moon”

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x Images interpreting the Sun or the Moon together like those on Figure 4. They are searching for cultural or emotional connection between the two celestial bodies although they are trying to express the existing contrast. Thus the viewers are not involved in experiencing the globes, but in s form of comparison.

Figure 4. Imaging “The Moon through the Sun” and “The Sun through the Moon” 2.2

Case Study 2: Analysis of Contrasting Semantic Objects – Antonyms

The aim of the second task is to assure the acquisition of semantic analysis, carried out by students on their own. More narrow meanings and concepts with higher contrast ratios, such as "moving - ceased", "tensed - relaxed", "opened - closed", "external - internal", "chaotic - in order" and other are suggested to be expressed graphically. The task takes the form of a small graphical test - design examination. It consists of independent imaging work for two hours. The conditions include graphic expressions of the first concept, another expression of the opposite term in a separate composition, and as a third one, a general image about possible "meeting" of these contrasting concepts or their mutual transformation. To provoke frugality and accuracy of the drawing expression, some restrictions are made about the used items and elements, such as the number of lines or words on the paper. Still students are recommended the use of story-telling in the images. In the composition developments referring these tasks we can observe the pattern of common drawing characteristics in the three stages of compositions, and all the similar colors, lines and scales. In parallel we are able to trace the artist search of tools for creating contrast. In the first composition on Figure 5, while exploring the couple "internal - external" contrast is expressed in very "conversational" way, but the final effect is obtained with the general forms used as "inside" and "outside". The central part of the student's work is expressing the contrast differently - imposed with strong "dramatic" diagonal, dividing both the drawing itself and also the whole panel of images - the peaceful sitting man in the left and the dynamic right silhouette. The other co-expressing tools include a set of elements with contrasting semantic meanings, that are guiding the observer through the compositions. These are the presence of

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artificial environment and a cage opposed to the open space and nature, the window-barrier versus the distant sun and so on.

Figure 5. Compositions expressing “Outside - Inside” term couple The next student is showing contrasting internal and external items, while creating dynamics through the hierarchy of square elements and fields. Finally the understanding of inside and outside is revealed as a matter of perspective: how we observe the positions of the elements. In the third composition, the contrast ratio is exposed by breaking the boundaries between "inside and outside" and suggesting an "exit" from closed to open. The author uses only the illusion of a box and two footprints in each image. The compositions expressing the couple of "moving - ceased" (Figure 6) also use various techniques. In the first set of compositions, the state of peace or movement is shown by the nature of the lines: the free movement expressed through free natural curves is suspended with severe urban objects – an artificial city environment. The unifying third part of the compositions absorbs both line types with gentle upward movement, and is a visual combination of nature and city or freedom and discipline. In the second example the same subject in the composition relies on "comic" storytelling arrangement while experimenting with contrast imaging of traffic and the environment. The idea is expressed by stars falling and then trapped on the ground, yet not wishing to separate. The author also experiments with the contrasting, concave and convex environmental forms.

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Figure 6. Compositions interpreting “Moving-Ceased” term couple 3. CONCLUSIONS While explaining the design process Alexander (1964, p.26)), says: “We are searching for some kind of harmony between two intangibles: a form which we have not yet designed and a context which we cannot properly describe.” In this perspective precise defining of positions, needs, expectations and meanings is crucial for the design development, and all levels and forms of semantic encoding are powerful tools for achieving high quality composition of final products. The aim of the simultaneous study of contrasting semantic objects is to facilitates the processes of semiotic analysis and visual coding performed by students. The author believes that creating storytelling images with their own context and coding system is an effective way to learn semiotic at some basic level and to prepare the students transfer their knowledge in more abstract way in the design process. The classes are also meant to provide intensive student participation and many options for interactive lesson conduction. The resulting images show students high level of mastering semiotic concepts. The polls among students that were conducted in the end of the semester showed their positive attitude and great deal of appreciation towards the training classes. The enthusiasm and willingness shown when the attendees were interpreting and mastering the semiotic methodology was notable. REFERENCES Alexander, C. 1964, Notes on the Synthesis of Form, Harvard University Press Bergman, M & Paavola, S, (eds), 2003, The Commens Dictionary of Pierce's Terms, Garland, R, 1990, 'A Comparison of Three Forms of the Semantic Differential', Marketing Bulletin, vol. 1, no. 4, pp.19-24, Article 4, viewed 18 June 2013, Hébert, L, 2006, 'The Semiotic Square', Signo, Louis Hébert (dir.), Rimouski (Quebec),

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viewed 18 June 2013, Malone, JC 2009, Psychology: Pythagoras to Present, Massachusetts Institute of Technology Oxford Dictionaries Online, 2013, contrast, Oxford University Press, viewed 16 June 2013, Zheleva-Martins, DI 2006, 'Theory of Form Formation / Theory of Composition: In Search of Differentia Specifica', Proceedings of the 4th engineering & Product Design Education International Confererence, Salzburg, University of Applied Sciences, September 2006, Austria, Published by Hadleys Ltd, United Kingdom, pp.323-328

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