Module 2 – Chapter 9

Designs based on the Fibonnacci sequence

I had used a lot of my printed papers for previous exercises and so had fun with my Gelli plate making a new batch to use in this and future chapters.

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Image 9.1

I used a series of printed papers to make a gradual tonal column where the widths of the tonal stripes have been set using the Fibonnacci proportions i.e. 1, 2, 3, 5, 8, 13 etc.  I then cut the block into strips also using the Fibonnacci proportions.  See Image 9.2.

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Image 9.2

Image 9.3 shows a tonal column Fibonnacci block sliced into strips and rearranged.

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Image 9.3

Image 9.4 shows a design using one patterned and one plain paper cut into strips using the Fibonnacci sequence.  I then arranged the strips alternatively.

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Image 9.4

Image 9.5 shows the design above cut into strips using the Fibonnacci series and arranged with gaps also using the Fibonnacci series of proportions.

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Image 9.5

Image 9.6 shows the above design rearranged with the strips laid alternately to create a chessboard design with the Fibonnacci proportions.

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Image 9.6

Image 9.7 shows a Fibonnacci ‘block’ made of five strips in tonal order.  I then copied this block and laid the copy  upside-down next to the original to create a block which faded in tone from the centre to the right and left.

imageImage 9.7

Images 9.8 and 9.9 show a design made by cutting the above block into equal strips and off-setting alternate strips slightly up to form a staggered edge.  In image 9.9 the block was rearranged so that the dark sections were on the outside edges which I think made a more dramatic design as the tonal contrasts were more evident.

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Image 9.8                   Image 9.9

Image 9.10 shows a block made by placing the strips from the blocks above into a log cabin patchwork design. 

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Image 9.10

Images 9.11 – 9.13 show designs made by cutting the Fibonnacci blocks in diagonal (45°) strips and arranged into various patterns. I did not think that 9.11 was very effective as the tonal values were too similar and so didn’t produce such a varied effect.  For samples 9.12 and 9.13 I varied the width of the strips as well as using blocks with more contrasting tonal sections. 

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Image 9.11              Image 9.12

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Image 9.13

Designs using the Fibonnacci Golden Sequence

image Image 9.14

I was very interested to read about the Fibonnacci golden sequence and the many places in which it appears in the natural world.  In terms of using the sequence for design I made samples 9.15 and 9.16 using squares and sketched the diagonals on to the squares to illustrate the spiral.

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Image 9.15                    Image 9.16

I then decided to use the principles of the  golden sequence to design using circles.   In sample 9.17 I increased the radius of each circle using the golden sequence ratios.

image Image 9.17

In image 9.18 I repeated the spiral of circles several times to make an overlapping design.  I was pleased with the effect that this produced as at first glance the pattern appeared random, but on closer inspection became clear that there was a structure to the design.

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Image 9.18

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