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PRINCIPES OF 3-D. PRINCIPLES OF THREE DIMENSIONAL DESIGN Composition can be defined as the combination of multiple parts into a unified whole. In a composition.

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Presentation on theme: "PRINCIPES OF 3-D. PRINCIPLES OF THREE DIMENSIONAL DESIGN Composition can be defined as the combination of multiple parts into a unified whole. In a composition."— Presentation transcript:

1 PRINCIPES OF 3-D

2 PRINCIPLES OF THREE DIMENSIONAL DESIGN Composition can be defined as the combination of multiple parts into a unified whole. In a composition all elements work together as a team. The principles of design describe ways in which these building blocks can be combined.

3 UNITY AND VARIETY UNITY AND VARIETY CREATING UNITY AND VARIETY USING GESTALT PRINCIPLES Gestalt Principles 6 common strategies for increasing order are: Grouping Containment Proximity Continuity Repetition Closure

4 GESTALT PRINCIPLE: GROUPING Juan Munoz, Towards the Corner,1998, wood, resin, mixed media

5 MARK DION GESTALT PRINCIPLE: GROUPING

6 TARA DONOVAN

7 TARA DONAVAN

8 GESTALT PRINCIPLE: CONTAINMENT Ann Hamilton, Offering, (1991)

9 GESTALT PRINCIPLE: CONTINUITY Tara Donovan, Pin Drawing, 2010

10 GESTALT PRINCIPLE: CONTINUITY AND REPETITION Tara Donovan, Pin Drawing, 2010, Detail

11 GESTALT PRINCIPLE: REPETITION Eva Hesse, Repetition No. 19, 1968, Fiberglass

12 GESTALT PRINCIPLE: CLOSURE Debra Butterfield Walla Walla, 1963, caste bronze, 93" x 122" x 36"

13 GESTALT PRINCIPLE: CLOSURE Debra Butterfield Earth Measure1997 found welded metal 83 x 120 x 30"

14 Gestalt Principles Grouping Containment Proximity Continuity Repetition Closure

15 CREATING UNITY AND VARIETY CREATING UNITY AND VARIETY Unity can be defined as similarity, oneness, togetherness, or cohesion Variety can be defined as difference Together they are the cornerstones of composition

16 INCREASING VARIETY DEGREES OF UNITY & VARIETY Sol LeWitt Structure 1973 Installation

17 INCREASING VARIETY Judy Pfaff Flusso E Riflusso 1992 Steel, wire, wood, paint 12 x 25 x 20

18 GRID AND MATRIX Leonardo Drew, Number 56,1996 Rust, plastic, wood, 113 x 113 Balance of order and disorder

19 vlatko ceric

20 BALANCE In design balance refers to the distribution of weight or force among visual units PHYSICAL BALANCE Claus Oldenburg, Denver Art Museum

21 Haim Steinbach, One Minute Managers V.2,1990, 2 plastic laminated wooden shelfs, aluminum alloy stock pots, leather medicine balls, 72.5 x 445 x 355 cm BALANCE

22 SCALE Henry Moore with bronze piece

23 Tom Friedman Monster Fly, 2008 Mixed media

24 PRO POR TION Constantin Brancusi Maiastra, 1912 Brass and wood, 29x7.5x7.5 3 Times Taller Than Wide PROPORTION PROPORTIONPROPORTION

25 Golden Bird, 1919 Bronze, stone and wood, 37 h 7 Times Taller Than Wide Constantin Brancusi PROPORTION PROPORTIONPROPORTION

26 Bird in Space, 1928 Bronze. Stone, wood 54x8.5x Times Taller Than Wide PROPORTIONPROPORTION Constantin Brancusi

27 REPETITION AND RHYTHM Magdalena Abakanowic Seated figures, Burlap and glue on steel stands, 41 x 20 x 26 in.

28 REPETITION AND RHYTHM Magdalena Abakanowic. PUELLAE, 1992, bronze, group of 30 figures each different about 105 x30 x21 cm

29 Sherrie Levine La Fortune 1990 felt, mahogany, resin REPETITION AND RHYTHM

30 UNITY Nothing distracts from the whole then you have unity. Unity without variation can be uninteresting. Unity with diversity generally has more to offer in both art and in life. Minimal can be very calming and at times even very evocative.

31 ARTS1010 MIDTERM REVIEW

32 Format for Mid-Term FIRST SET ONE The FIRST SET you will pick ONE image to write an analysis using terminology learned from lecture and your readings SECOND SETCOMPARISONTWO The SECOND SET you will write a COMPARISON with the TWO images, similarities and non-similarities using terminology learned from lecture and your readings A B or There will be two sets of two images

33 WHAT IS AN ANALYSIS? ANALYSIS I.EXPRESSION: What is your reaction? How does it make you feel? II.COMMUNICATION OR MEANING/CONTENT: What do you think it is about? III.DIAGRAM / DRAWING / DESCRIPTION: quick visual run down. IV.FORMAL CONSIDERATIONS: How are I. (EXPRESSION) and II. (COMMUNICATION/MEANING/CONTENT) achieved? It is the examination of something in detail in order to understand it better or draw conclusions from it.

34 ANALYSIS PART I EXPRESSION: WHAT IS YOUR FIRST REACTION? HOW DOES IT MAKE YOU FEEL? DAVID SALLE Snow White 2004 oil on linen, 96X120

35 ANALYSIS PART II Interpretation COMMUNICATION OR MEANING/CONTENT: Interpretation DAVID SALLE Snow White 2004 oil on linen, 96X120 WHAT DO YOU THINK IT IS ABOUT? WHAT DO YOU THINK THE ARTIST IS TRYING TO COMMUNICATE? Snow White

36 FORMAL CONSIDERATIONS: how are I and II achieved? –Use terminology learned from readings and lectures: DAVID SALLE Snow White 2004 oil on linen, 96X120 ANALYSIS PART IV

37 FORMAL CONSIDERATIONS: how are I and II achieved? »Use terminology learned from readings and lectures: DAVID SALLE Snow White 2004 oil on linen, 96X120 ELEMENTS OF DESIGN Line, Shape, Texture, Value, Color PRINCIPLES OF DESIGN PRINCIPLES OF DESIGN Unity and Variety, Pattern & Grids, Balance, Scale & Proportion, Rhythm, Emphasis, Space, Movement

38 ANALYSIS PART IV FORMAL CONSIDERATIONS: how are I and II achieved? »Use terminology learned from readings and lectures: DAVID SALLE Snow White 2004 oil on linen, 96X120 GESTALT PRINCIPLES Grouping, Containment, Repetition, Proximity, Continuity, Closure COMPOSITIONAL ISSUES The combination of multiple parts into a unified or harmonious whole ANALYSIS PART IV

39 ANALYSIS PART I EXPRESSION: Fred Sandback Blue Day-glo Corner Piece, 1968/2004 1/32" Elastic Cord & Spring Steel 14 x 12 x 6

40 ANALYSIS PART II Cindy Sherman: From Centerfolds Series, 1981, 2 x 4 foot

41 ANALYSIS PART IV IV. FORMAL CONSIDERATIONS: How are I and II achieved? Expression/Meaning/Content Felix Gonzalez-Torres Untitled, 1991 Offset print on paper, endless copies 8 in. at ideal height x 44-7/8

42 COMPARISON Sol LeWitt Incomplete Open Cube, 7/18, 1974, Painted Aluminum Wu Junyong, Opera, 2006, 60 x 80 cm


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