Launching the Imagination / Pg. 198-231 / 355
Launching the Imagination / Pg. 198-231 / 355
Basic building blocks for three-dimensional design:
-Line, plane, volume, mass space, texture, light, color, and time.
In my last post I talked about, line, plane volume, and mass.
http://thechirp355.blogspot.com/2014/12/launching-imagination-pg-176-198-355.html
We will continue with:
Space: The area within or around an area of substance.
-A dialogue between a form and its surrounding is created as soon as an artist positions an object in space.
-Space is the partner to substance. Without it, line, plane, volume, and mass loose both visual impact and functional purpose.
Positive and Negative Space: Negative space is especially noticeable in designs that are dominated by positive form.
Compression and Expansion: Space is never passive or meaningless. It is just as important as the surrounding substance, and it can be manipulated very deliberately.
Activated Space: The Space in an artwork may be contemplative, agitated, or even threatening.
Entering Space: Some sculptures are designed to be entered physically. Other sculptures can be entered only mentally.
Texture: The visual or tactile quality of a form.
Degrees of Texture: Variations in the surface of a volume may be subtle or pronounced.
Characteristic and Contradictory Textures: Every material has its own inherent textural properties. Clay, glass, and metal can be poured, cast or pressed to create a wide variety of textures. Gold, which may occur in nature as dust, in nuggets, or in veins, can be cast, hammered, enameled, and soldered. Despite the adaptability of most materials, however, we are accustomed to their being used in specific ways.
The Implications of Texture: On a compositional level, texture can enhance our defy our understanding of a physical form.
Light: can enhance or obscure our understanding of form. It can entice us to enter a room, heighten our emotions, and create a mystery.
Color: Color definitions remain the same whether we are creating a three-dimensional or two-dimensional composition.
-Each color has a specific hue.
-Value: The lightness or darkness of a color, helps determine legibility.
-Intensity: (Saturation): refers to the purity of a color
-Temperature: refers to the psychological characteristics attributed to a color.
NOTE: Also see my other blog post on "The Element of Color"
http://thechirp355.blogspot.com/2014/10/launching-imagination-pg-38-54-355.html
Time: Every object occupies a position in time as well as space. In some cases, the specific temporal location is of minor importance.
-Two aspects of time are particularly important to sculptors
-Actual time: the location and duration of an actual temporal event
-Implied time: The suggested location or duration of an event
Principles of Three-Dimensional Design:
Composition: The combination of multiple parts into a unified whole. In a well-composed design, all the elements work together as a team. A dialog is created between positive and negative forms, and opposing forces add vitality rather than causing confusion.
Unity and Variety:
Unity: Similarity, oneness, togetherness, or cohesion
Variety: Difference.
Grouping: when presented with a collection of separate visual units, we immediately try to create order and make connections.
-Grouping is one of the first steps in this process.
Containment: a unifying force created by the outer edge of a composition or by a boundary within a composition.
Proximity: the distance between visual units
Continuity: a fluid connection among compositional parts.
Repetition: Occurs when we use the same visual element or effect any number of times within a composition.
Closure: The mind's inclination to connect fragmentary information to produce a completed form.
Increasing Variety: Difference in any aspect of a design increases variety.
-Line Variation: Difference in line weight, length, and height.
-Variation in texture: Combining smooth and textured surfaces can add energy and interest to even the simplest form.
Variation in pattern: different patterns.
Degrees of Unity: Some designs require a high level of unity. Other designs require a high level of variety.
Grid and Matrix:
-Grid: created through a series of intersecting lines.
-Matrix: a three-dimensional grid.
-Both can unify a design by creating containment, continuity, and proximity.
Balance: The distribution of weight or force among visual units.
Symmetrical balance: forms are mirrored on either side of a central axis.
Radial Symmetry: Design elements extended out from a central point. Like the spoken words of wheel.
Asymmetrical Balance: creates equilibrium among visual elements that do not mirror each other on either side of an axis. Depending on the degree of asymmetry, the resulting design may be quite stable, very dynamic, or nearly chaotic.
Scale: The size of a form when compared with human size.
-Small: Handheld
-Our size: Human Scale
-Large: Very large objects and installations that are monumental in scale
Proportion: The relative size of visual elements within an image. When we compare the width of the head with its height or divide a composition into thirds, we are establishing proportional relationship.
Basic building blocks for three-dimensional design:
-Line, plane, volume, mass space, texture, light, color, and time.
In my last post I talked about, line, plane volume, and mass.
http://thechirp355.blogspot.com/2014/12/launching-imagination-pg-176-198-355.html
We will continue with:
Space: The area within or around an area of substance.
-A dialogue between a form and its surrounding is created as soon as an artist positions an object in space.
-Space is the partner to substance. Without it, line, plane, volume, and mass loose both visual impact and functional purpose.
Positive and Negative Space: Negative space is especially noticeable in designs that are dominated by positive form.
Compression and Expansion: Space is never passive or meaningless. It is just as important as the surrounding substance, and it can be manipulated very deliberately.
Activated Space: The Space in an artwork may be contemplative, agitated, or even threatening.
Entering Space: Some sculptures are designed to be entered physically. Other sculptures can be entered only mentally.
Texture: The visual or tactile quality of a form.
Degrees of Texture: Variations in the surface of a volume may be subtle or pronounced.
Characteristic and Contradictory Textures: Every material has its own inherent textural properties. Clay, glass, and metal can be poured, cast or pressed to create a wide variety of textures. Gold, which may occur in nature as dust, in nuggets, or in veins, can be cast, hammered, enameled, and soldered. Despite the adaptability of most materials, however, we are accustomed to their being used in specific ways.
The Implications of Texture: On a compositional level, texture can enhance our defy our understanding of a physical form.
Light: can enhance or obscure our understanding of form. It can entice us to enter a room, heighten our emotions, and create a mystery.
Color: Color definitions remain the same whether we are creating a three-dimensional or two-dimensional composition.
-Each color has a specific hue.
-Value: The lightness or darkness of a color, helps determine legibility.
-Intensity: (Saturation): refers to the purity of a color
-Temperature: refers to the psychological characteristics attributed to a color.
NOTE: Also see my other blog post on "The Element of Color"
http://thechirp355.blogspot.com/2014/10/launching-imagination-pg-38-54-355.html
Time: Every object occupies a position in time as well as space. In some cases, the specific temporal location is of minor importance.
-Two aspects of time are particularly important to sculptors
-Actual time: the location and duration of an actual temporal event
-Implied time: The suggested location or duration of an event
Composition: The combination of multiple parts into a unified whole. In a well-composed design, all the elements work together as a team. A dialog is created between positive and negative forms, and opposing forces add vitality rather than causing confusion.
Unity and Variety:
Unity: Similarity, oneness, togetherness, or cohesion
Variety: Difference.
Grouping: when presented with a collection of separate visual units, we immediately try to create order and make connections.
-Grouping is one of the first steps in this process.
Containment: a unifying force created by the outer edge of a composition or by a boundary within a composition.
Proximity: the distance between visual units
Continuity: a fluid connection among compositional parts.
Repetition: Occurs when we use the same visual element or effect any number of times within a composition.
Closure: The mind's inclination to connect fragmentary information to produce a completed form.
Increasing Variety: Difference in any aspect of a design increases variety.
-Line Variation: Difference in line weight, length, and height.
-Variation in texture: Combining smooth and textured surfaces can add energy and interest to even the simplest form.
Variation in pattern: different patterns.
Degrees of Unity: Some designs require a high level of unity. Other designs require a high level of variety.
Grid and Matrix:
-Grid: created through a series of intersecting lines.
-Matrix: a three-dimensional grid.
-Both can unify a design by creating containment, continuity, and proximity.
Balance: The distribution of weight or force among visual units.
Symmetrical balance: forms are mirrored on either side of a central axis.
Radial Symmetry: Design elements extended out from a central point. Like the spoken words of wheel.
Asymmetrical Balance: creates equilibrium among visual elements that do not mirror each other on either side of an axis. Depending on the degree of asymmetry, the resulting design may be quite stable, very dynamic, or nearly chaotic.
Scale: The size of a form when compared with human size.
-Small: Handheld
-Our size: Human Scale
-Large: Very large objects and installations that are monumental in scale
Proportion: The relative size of visual elements within an image. When we compare the width of the head with its height or divide a composition into thirds, we are establishing proportional relationship.
Works Cited:
Steward, Mary. Launching the Imagination: A Comprehensive Guide to Basic Design. 4th ed.
New York, Ny: McGraw-Hill, 2012, 2008, 2006, 2002. Print
Comments
Post a Comment