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PRINCIPES OF 3-D

Composition involves combining multiple parts into a unified whole. Learn how to use Gestalt Principles like Grouping, Containment, and Continuity for unity and variety in 3-D design. Explore balance, scale, proportion, repetition, and rhythm to enhance your designs.

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PRINCIPES OF 3-D

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  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 VARIETYCREATING 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. GESTALT PRINCIPLE: GROUPING MARK DION

  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: CONTINUITYAND 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 VARIETYUnity can be defined as similarity, oneness, togetherness, or cohesionVariety can be defined as differenceTogether 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 Balance of order and disorder Leonardo Drew, Number 56,1996 Rust, plastic, wood, 113” x 113”

  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. BALANCE 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

  22. SCALE Henry Moore with bronze piece

  23. Tom Friedman Monster Fly, 2008 Mixed media

  24. PROPORTION PROPORTION PROPORTION 3 Times Taller Than Wide Constantin Brancusi Maiastra, 1912 Brass and wood, 29”x7.5”x7.5”

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

  26. PROPORTION PROPORTION 10 Times Taller Than Wide Constantin Brancusi Bird in Space, 1928 Bronze. Stone, wood 54”x8.5”x6.5”

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

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

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

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

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

  36. 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, 96”X120”

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

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

  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 II. MEANING/CONTENT: What is it about? (What information can you get from the title, artist, and time period? What do you think the artist's intent was of the art
piece?) 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 Wu Junyong, Opera, 2006, 60 x 80 cm Sol LeWitt Incomplete Open Cube, 7/18, 1974, Painted Aluminum

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