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.


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.


Image 9.2

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


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.


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.


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.


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.

image image

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. 


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. 

image image

Image 9.11              Image 9.12


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.

image image

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.


Image 9.18