My first design project involves exploring design fundamentals through a series of sequential frames. The first set allows me to use perfect circles to express changes in scale, while the second set arranges straight lines to convey frequency. The final set positions planes according to a defined logic or dataset. Together, these experiments form a collection of compact design boxes, each investigating how simple elements can transform and interact over time. I am excited to begin these tasks, as it will be my first time putting together a series of different design prospects and allowing others to see what ideas I am capable of coming up with.
Before beginning this project, I decided it was best to investigate how the core elements of point, line, and plane can communicate meaning when explored through structured visual experiments. In the first exercise, the focus is on Point, using only points, dots, and perfect circles. Across five frames, variations are created through reflection, multiplication, dispersion, proximity, changes in scale, and visual dominance. These manipulations aim to explore how simple marks can establish relationships, balance, and emphasis. The second exercise moves to Line, relying solely on straight lines of varying width, thickness, and orientation—horizontal, vertical, and diagonal. The sequences investigate rhythm, frequency, symmetry, and asymmetry, using repetition and contrast to create visual movement and structure. The third exercise examines Plane, building compositions influenced by logical or real-world systems such as grid structures, court markings, or mathematical patterns. Each frame is shaped by an underlying set of rules, creating planes that exist with purpose rather than purely by visual intuition. Together, these three exercises form a foundational exploration in design, showing how minimal elements can be transformed and sequenced to create both visual interest and conceptual clarity.
Approaching this project as someone new to the field of design, the task serves as both an introduction and a challenge. By working with the elements of point, line, and plane, I am learning to strip design down to its essentials, including form, proportion, rhythm, and structure, before layering in complexity. The limits of each exercise force me to think critically about composition and meaning. Limiting myself to circles teaches sensitivity to scale, dominance, and spatial relationships. Working only with lines reveals how rhythm, frequency, and orientation can create movement or stillness. Constructing planes from logical systems encourages me to connect design decisions to reason and context, rather than relying on instincts. These foundations are great for my growth in interactive design as they will sharpen my eye, strengthen my ability to communicate visually, and to approach more complex projects with confidence. For me, this is more than just a series of exercises; it’s the first step in developing a personal design language that can evolve and expand over time.
Before beginning the exercises, I focused on research and brainstorming to develop direction and explore possibilities within the constraints of point, line, and plane. I gathered visual references and studied how minimal elements can convey meaning through scale, spacing, orientation, and perspective. This process helped me see how rules and limitations could guide creativity, allowing me to form ideas that were both visually engaging and aligned with the requirements of each exercise.
For Point, the brief limited me to points, dots, and circles, using variations in reflection, multiplication, dispersion, proximity, scale, and dominance. I researched different types of circular arrangements, patterns where circles were dispersed randomly, tightly clustered, repeated in grids, or scaled to create depth. These examples helped me understand how even the smallest shifts in spacing or size could dramatically alter the composition. I was particularly drawn to how circles could feel playful, minimal, or even architectural depending on their arrangement, which guided my approach to creating variation across the five frames.
For Line, I reflected on a similar exercise I had done in school for my art projects, where I experimented with line width, thickness, and orientation. Revisiting that memory, I explored different ways to create rhythm, frequency, symmetry, and asymmetry through line placement. I looked at examples that used dense repetition for intensity, sparse arrangements for calmness, and alternating thicknesses for visual interest. This helped me see that even small changes in spacing or direction could shift the energy of the frame, giving me ideas for balancing harmony and tension in my work.
For Plane, the requirement was to create compositions from logical or real-world systems, such as grid structures, court markings, or symmetry. My research led me to consider how planes define and divide space in design, and how perspective can add depth or hierarchy. I looked at examples where planes interacted dynamically, overlapping, receding, or expanding and how they could be driven by precise rules. This inspired me to think about how my planes could feel both structured and spatial, rooted in a consistent logic while still leaving room for visual intrigue.
So far, this approach of combining focused research with structured exercises has been extremely insightful. Exploring different patterns, arrangements, and systems for points, lines, and planes has helped me understand how subtle changes in scale, spacing, rhythm, and perspective can dramatically affect a composition. The research phase gave me a range of ideas and visual references, but also clarified which strategies feel most inspiring and relevant to my style. Moving forward, I feel ready to translate these observations into my designs. Having seen how points can establish hierarchy, lines can create rhythm, and planes can define space, I can now experiment more confidently within the constraints of each exercise. This stage will allow me to test ideas, refine my compositions, and begin forming a personal approach to working with these foundational design elements.