Asymmetrical Drawing & Lettering with the Golden Ratio
Chris Heath, The Geometrical Design Guy
10 Lessons (22m)
View My Notes


1. Asymmetrical Drawing & Lettering with the Golden Ratio
1:53 
2. Introduction to Asymmetry
0:54 
3. Drawing Tools
0:30 
4. Abstract Lines
1:53 
5. Abstract Rectangles
1:39 
6. Swiss Style Numerals
2:56 
7. Roman Style Letters
2:59 
8. Dividing a Line by the Golden Ratio
3:08 
9. Grid Setup
4:42 
10. What's Next?
1:04

About This Class
Have you ever wondered how to use the golden ratio?
Let's face it; it's not the easiest thing to wrap your head around. The math may seem mindboggling, but here's the thing — it's actually quite simple for artists, designers and architects to use.
In this class we explore, through a series of simple drawing exercises, one of the golden ratio's special properties. This property can best be described as balanced asymmetry. The golden ratio is one of a number of useful proportions that can be used to introduce asymmetry into our work, and to do this in a harmonious way.
Symmetry is easy. Asymmetry is just as easy if you know where to begin.
All you need for this class is:
 to print the grids that you can download from this class
 some pens and pencils
 an eraser, and
 a straight edge, e.g., a ruler
So lets get started...
Class Projects 6 See All
To follow the lessons in this class, download the following grids:
(Read More)
Transcripts
1. Asymmetrical Drawing & Lettering with the Golden Ratio: it's class, I will introduce you to a small range of abstract drawing exercises that are designed to help you incorporate balanced asymmetry into your own work. With just two grades, we will be using the golden ratio to determine the size and distribution, off lines, big tangles and Kurds I compress. I'm a writer and designer. In the late 20th century, I completed a design thesis for my master's degree on the geometric laws and principles on ornament. I've always been fascinated with how geometry can be used to handle simplicity, penned complexity and design. With that being abstract design a simple Lego and I call or a complex decorative surface pattern, The golden ratio is one of a number of useful proportions on design. The other proportions that I commonly use. Other related group two ratio and the Route three ratio. The golden ratio, with its related fivefold symmetry and its fractal property of self similarity at all scales as incredibly useful when it comes to representing natural forms and now work. If you want to incorporate the golden ratio into your work understanding, it's asymmetrical yet harmonious division of space. It's perhaps the first flailing hurdle toe become. That is a complex Syria study, and it would be difficult to cover everything about the golden ratio on one class. So in this class we're just going to focus on how to use the golden ratio Toe Corp rape asymmetry into your work.
2. Introduction to Asymmetry: asymmetry is widespread throughout the natural world. I like to think of a symmetry. Is the unequal yet harmonious division off space? Asymmetry is also property off continuous proportions. For example, the golden ratio. This means we can make use of the golden ratio to incorporate asymmetry and where work, for example, to recreate the asymmetrical wings on one side of a butterfly. What we're working with here is the asymmetrical properties of a continuous proportion to size and arranged the elements of our design for artwork. This is one property that we can use to introduce a sense of harmony and balance to our work.
3. Drawing Tools: For this class, you will need a pencil, some pins, the printed grids, which you can download from the your project page of this class and a razor and straight ege headers. A ruler or sit square. You don't need to be good at drawing Freehand. Just explore the downloadable grids. Give the exercises ago thin. Try using the grids to draw whatever it is you normally enjoy drawing.
4. Abstract Lines: on this first or against a size, we will be using this grid grid number five to sit the worth of her lines in an abstract design. It's easy to focus on making things symmetrical, and it's easy to ignore asymmetry altogether, putting it in the too hard basket. I encourage you to complete this exercise as a means of pushing yourself outside of your comfort zone. I can promise you it's not much of a push, and I think you'll actually enjoy it. Just print off a few copies of the grid and discover a range of different rhythms by blocking out the spaces between the grid lines. You can see in my example that each time I change direction, I started new pattern to see what rhythm unfolds. And I'm really just making this up as I go and relying on the grid to introduce sense of harmony between each pattern. Well, I have some idea of my hitters toe how I hope this turns out. The resulting rhythm of each pattern is very much a pleasant surprise. If you are a surface pattern designer, you may find these grids useful for creating striped patterns, perhaps even his background patterns to your floral designs When coloring between the grid lines. I'm also seeing what happens of high color and adjacent spaces, and conversely, seeing what happens if I leave two or more adjacent spaces white, the range of rhythmic patterns that you can create are endless.
5. Abstract Rectangles: Leslie said. We will be using the screws. Grid number three. This listen is similar to the first, but I tend to think of these shapes is rectangles. You may think of them as lines with stripes. In this case, we're working with two months off Rick Tangle that are related by the golden ratio, and we are introducing 1/3 element. And that is the background, which is white, that is, our rectangles and the space between rectangles are all determined by the golden ratio. I'm essentially sitting up blocks off repeated Rick tangles. Each block exhibits a variation of the same rhythm, and to make this a bit more interesting, I'm changing direction, creating the illusion of overlapping rectangles and making use of the white space to create a balanced, asymmetric design. In some cases, the wide lines will be colored, and then some. They will be black. Conversely, some of the thin lines will be colored and some will be black. I guess you could say that I'm introducing counter change to the design and asymmetric way , and we will also incorporate the white background to enhance asymmetry
6. Swiss Style Numerals: When you think about it, the shapes of letters and numerals are pretty abstract. I have always liked the typeface is Helvetica and universe. So sitting down with migrant and pencil, I thought had tickle some numerals with thesis was typefaces in mind? The idea here is to incorporate asymmetry by making use of the grid lines to determine the worth of the numerals. At various points, for example, the thickness off the numeral varies from the horizontal to the vertical by the golden ratio. When I was a kid, I used to help my dad out by scaling up in hand, drawing these letters and numerals for silage. Next up is a three. I really am making this up as I go, and I'm not looking at any type faces as a reference. So if you see me stall and waved my pencil, I'm just thinking of what to do next. To start with, I am reproducing the same curves as on the to and working at the center off the three. You'll also notice that the width of the center portion of the three is also related by the golden ratio to the other dimensions. It's not uncommon to reading some of the kids or readjust the position off some of the points I prefer to draw lightly before darkening at the curves. Also, I'm aiming for long, deliberate strokes. I'm not building my curves by sketching. After scanning the numeral and to a victor drawing EP, I've added a few refinements. First, up the squares to the right relate to the cred each squares. Dimensions are related to the adjacent square by the golden ratio. I like to use thes squares as a unit of measure, much like you would use a ruler with an chisel millimeters on it. The difference is the units differ and scale by the golden ratio. I ended up putting the center curves that defined the counter space to some circles. Obviously, it's not going to be a perfect matched with circles. I'm just using them as a guide. I used the pink square toe and set the curve on the rights and used the Green Square toe office it punch point. The reason for these changes is to give the lower half of three more weight. By doing so, the three doesn't look so top heavy. Is it would if it was perfectly symmetrical. There is more than I would like to do to this numeral, for example, to pull the top and bottom curves just over the base and median line, but only fit for another day.
7. Roman Style Letters: for our last drawing exercise. Let's tackle a Roman style letter in this case, the letter A. Again. I'm not using a reference for this. I'm just making it up. It's a go. I sit the apex of the letter using the grid, then set the baseline. The epic sits on the kept height line, so I'm drawing the sun as well, mixed up of the feet. And these were drawn symmetrically either side of the APICS, I said, a point to draw the diagonal of thick line on the right. Thin established the thickness off the thick line using the grid. And then I drew the brackets or curves that connect the stems to the syrup. Similarly, a point was sit for the here line on the lift. The worth of the hairline was also sit using the grid. Most of all, the crossbar was headed and again, the thickness and location of this cross bar is determined using the grid. The thickness off the ethical line was okay, but I decided it might look better if it was thicker, so I'm redrawing it again, using the grid to determine the thickness. Apart from making it up, it's pretty much done with these drawing exercises. I hope you can see the value in using a grid on particular. Agreed, that incorporates the golden ratio to build asymmetry into your design and to do it in such a way as to create a harmonious design. Because I have done, you can use the grid to guide the size and location of each line and curve on your design, and here we have the finished leader.
8. Dividing a Line by the Golden Ratio: hopefully bone there you've had a go at the exercises. Enough not, Doesn't really matter what I thought I would do here is going Teoh the golden ratio on a little bit more detail. Perhaps this might explain the golden ratio bitter. So in this bonus, listen, we will be dividing a line using geometry to reveal the golden ratio. Then, in the following listen, we will use this ratio to create the simple, asymmetric grids used in this class. So let's get started. Step on. Draw a double square rectangle that is a rectangle made of to squeeze side by side. I'm using graph paper to make this easier if you have ever heard of Dynamic cemetery. The stubble square rectangle is known as the root for rectangle because the length of its long side, when divided by the length of its short side, equals two. Stick to draw a diagonal from the lower lift of the rectangle to the opposite corner of the rectangle. Step three. Drawing AK with the radius it to the height of the rectangle centric on the end of the diagonal and draw the air controller and six The diagonal Step four drawer A second ac sent to the sack on the start off the diagonal and sit the radius to the length of the diagonal list the height off the rectangle. Describe this arc until under six. The long side of the rectangle while I continue to market the strolling, let's have a look at what we've just done. So now we have the length of the route for rectangle divided and two unequal segments. There is something special about the length off these segments and relation to the length of the rectangle. The length of the rectangle of divided by the length of the longer segments results in a number, and that number has 1.618 It's a number which just continues forever. Likewise, dividing the length of the longer segment by the length of the short segment also equals on 0.618 and this is the golden ratio. So if I was to label these lengths A, B and C, I think I over Bay equals B over see what she calls 1.618 This number has called an irrational number because it goes on forever without repeating and the fact that a divided by B equals be divided by C makes this ratio a continuous proportion. And it's this perfect ratio that pops up in geometry time and time again. And I'm perfectly on natural systems throughout the observable universe.
9. Grid Setup: What were you doing in this? Listen is creating a Siri's off related grids. These are the same grids used in this class. I'm using affinity designer. You can follow along with the Adobe Illustrator or any other victor drawing toll. If you don't want to create these grids, you can download the finished grids. End this affinity designer file from your project page off this class, I've set up a square that is 200 millimeters by 200 millimeters. The sizes arbitrary only chose the size to fit the grid nicely on a piece of a four paper starting in the lower left corner drawer, a square incidents dimensions to 10 millimeters by 10 millimeters. I chose 10 millimeters so that divides equally into 200. I'm also using the lift lift corner off My objects has a datum to assume into the square end. Duplicate er's three with both dimensions connected, multiply one of the dimensions off the duplicated square by 0.618 This is the invoice of 1.618 which is the golden ratio. This will sit the rectangle nicely and the lower left corner off the larger square select your pin toll. Sit the strike toe around 0.5 point. Draw a horizontal line from the lower left corner across to the right that has 200 millimeters long. Duplicate this line and snap it to the top right corner off the smaller square. Note that this line is not going to snip to the nearest millimetre on the Y Xs because the golden ratio is an irrational number, and it is the golden ratio that we used to determine the dimension off the smaller square. Sit the worth of this line toe approximately 2.5 point. Duplicate the two lines and drake the copies until the lower line snips to the lower lift off the larger square. We can now continue duplicating thes two lines using Command J until we reach the top of the bounding square. Group these lines and label them horizontal 01 I Mr Line. So I'm going to add one more line to the group, duplicate and rotate the group anti clockwise 90 degrees. Renamed the stew Placated group vertical 01 We now have a grid where the asymmetry is obvious and so this is a grid that we can use later on duplicate the group horizontal 01 Henry Name it horizontal Syria to hide all groups other than horizontal zero to ignore the bottom and top lines and select the third line up from the bottom and delete it. Continue deleting every second line. This is so that when we rotate the group, we're not duplicating lines. Select the group, rotate it 180 degrees, duplicate the group horizontal 02 and rename it Physical zero to hide the horizontal groups and show both vertical groups select and rotates the group 90 degrees. So now we have a range of grids that we can explore, and H Grid unit is full of golden rectangles and squares.
10. What's Next?: I really hope you enjoyed this class and you got a lot out of it. Now, this class is the first class in the Siris on the golden ratio, End related proportions. So if you would like to know Mawr and to see future classes, please follow me on skill share. Also, drop your questions into the discussion area and I may be able to incorporate what you're looking for in the next class or two. Remember to download the exercises and give them ago. They are really good exercises in terms off introducing a symmetry to your work. And what I recommend is after you've done these exercises, try and apply what you normally draw. What you enjoy. Drawing and incorporate those with the grid and see what happens. But I look forward to seeing you in the mixed class.