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ELEMENTS OF THREE DIMENSIONAL

ELEMENTS OF THREE DIMENSIONAL. COMPARISON of 2-D & 3-D. SIMULARITIES: Basic design elements are organized to communicate ideas, express emotions, and create functional objects.

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ELEMENTS OF THREE DIMENSIONAL

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  1. ELEMENTS OF THREE DIMENSIONAL

  2. COMPARISON of 2-D & 3-D SIMULARITIES: • Basic design elements are organized to communicate ideas, express emotions, and create functional objects. • Basic principles of designed are used to create images and objects that offer an effective balance between unity and variety • In both 2-D/3-D design, concept development and critical thinking are essential aspects of the creative process. DIFFERENCES: • 2-D we use our technical, perceptual, and conceptual skills to create flat visual patterns and convincing illusions. • 3-D our experience is physical and direct. • 3-D the materials used determines its structural strength as well as its aesthetic appeal.

  3. What is Form? EXAMPLE: 2-D SHAPES: CIRCLE, SQUARE, AND A TRIANGLE CHAPTER 6: FORM WAS DEFINED AS THE PHYSICAL MANIFESTATION OF AN IDEA. gone 3-D FORMS: SPHERE, CUBE, AND A PYRAMID

  4. TYPES OF FORM: VOLUME MASS • DEFINITIONS: • Volume: • 2-D: A three-dimensional form that has been represented • using the illusion of space • 3-D: A empty three-dimensional form • MASS: • 3-D: A solid three dimensional form

  5. MASS VOLUME Jiang Yan-ze Assemblage-1, 2002 Slip casting, bone china David Fried, Stemmers, 2006, solid acrylic forms and urethane, paint

  6. 3-Dimensional Composition Robert Longo Eric, 1994, lithograph Ron Mueck Untitled, 1999

  7. ORGANIC FORMS • Definition: Forms that visually suggest nature or natural forces. Also known as biomorphic shape Organic forms create a very different effect than geometric forms Jan Kriekels and Arne Quinze, Uchronia, Measuring almost 200 feet long, 100 feet wide and almost 50 feet tall, Burning Man 2006 Ninety artists from Belgium shipped 100 miles of wooden beams to the playa, and nail-gunned them into a free-form cavern 15 stories high.

  8. MOVEMENT IN FORMSTATIC FORMS: Appear stable and unmoving Rachel Whiteread, Ghost, 1990, casted concrete

  9. DYNAMIC FORMS – Implies movement, energy Richard Serra, A Matter of Time, 2005, 8 bent steel, 32,000 square foot

  10. KINETIC FORMS: Forms thatactually moves George Rickey Eight Lines 1987 kinetic sculpture of brushed aluminum 62 ½ by 55 by 6 inches Alexander Calder Numbered One to Seven 1950
 painted sheet metal and wire 82 x 62 inches

  11. Theo Jansen

  12. Christian Cerrito & Petra Farinha's Solar chandelier

  13. FORM AND FUNCTION AN ARTIST SEEKS TO EXPRESS CONCEPTS AND EVOKE EMOTIONS An artist explores an idea, chooses materials, and develops a composition based on his or her aesthetic intention.

  14. DESIGNERS uses the same mastery of concept, composition, and materials to create an object that is functional as well as beautiful. Form must fulfill a specific function or purpose. Designer: Jan Puylaert LTB illuminated sink, actual size sink Designer: Reddish, Tub Chair, A bath, steel, 70L X 58W X 70H cm

  15. Designer and Sculptor Both have a different purposes yet both uses the same basic elements and principles of design: • Organize line, plane, volume, mass, space, texture, and color into coherent form • Structural integrity in a sculpture is just as important as the structural integrity of a teapot or a public art project

  16. THE THREE DIMENSIONS IN A 3-D DESIGN HEIGHT x WIDTH x DEPTH Three-Dimensional form on a Two Dimensional surface Height or y axis Depth or z axis Width or x axis In computer aided designs you used the same axes as used in geometry

  17. DEGREES OF DIMENSIONALITY FOUR VARIATIONS The degree of our physical involvement with the artwork strongly affects our understanding of both the form and the content RELIEF Relief starts with a flat backing as a base for the three dimensional form, like a sculptural painting. LOW RELIEF Robert Longo Corporate Wars 1982 casted aluminum lacquer on wood relief 7x9x3’

  18. THREE-QUARTER WORKS More three-dimensional: front and two sides Jean-Baptiste Carpeaux The Dance 1869 Randolphlee McIver, Girl Front View August 30, 1996, Plaster Relief, 30″ × 25″ × 9½″

  19. FREESTANDING WORKS Designed to be seen from all sides -“in the round” 80 backs, 1976-80, burlap and resin life size Crowd, 2004, Cast burlap Magdalena Abakanowicz

  20. ENVIRONMENTAL WORKS Presents a space than can be physically entered Such works often require audience participation and may present a series of images, ideas, and experiences that unfold over time INSTALLATIONS Usually presented indoors Usually an installation is an ensemble of images and objects that are presented within a three-dimensional environment Installations can involve multi media and technology

  21. INSTALLATIONS Cai Guo-Qiang "I Want To Believe” Car installation at the Guggenheim in NY city

  22. EARTHWORKS • Usually present outdoors • An earthwork is a large scale outdoor installation • Can expand great distances in time and space • Require substantial physical engagement by the artist, audience, and inhabitants of the site • An artwork that extends far beyond the walls of a museum or gallery

  23. EARTHWORKS Maya Lin Wave Field, 90’x90’

  24. SITE-SPECIFIC ARTWORK An artwork that is specifically designed and installed a particular place Catedral de Cadeiras, Ville de Reims France 2007 TADASHI KAWAMATA Toronto 1989

  25. Three-Dimensional uses the following elements as part of its basic building blocks: Line Plane Volumes Mass Space Texture Light Color and Time Line Shape Texture Value and Color

  26. LINE Line can connect, define, or divide a design. It can be static or dynamic, increasing or decreasing the stability of the form. Line can be created through a series of adjacent points Ant Farm’s (Chip Lord, Hudson Marquez, Doug Michels) Cadillac Ranch, 1974 commissioned by a rancher in Texas

  27. LINE • A connection between • points • A point in motion “a celebration of the landscape.... The fabric is a light-conductor for the sunlight, and it will give shape to the wind. It will go over the hills and into the sea, like a ribbon of light.” Christo Christo and Jeanne-Claude Running Fence, Sonoma and Marin Counties, California 1972-76, 24.5 miles

  28. LINE QUALITY Orientation horizontal, vertical, or diagonal Direction refers to the implied movement of a line Continuity or linear flow can increase movement and accentuate form MARK DI SUVERO ARIKIDEA 1982 Cor-Ten steel, steel, wood MARK DI SUVERO MOLECULE 1983 steel, paint

  29. ACTUAL LINES Can connect, define, or divide a design Gordon Matta-Clark Splitting: Exterior 1974 Splitting: Interior

  30. IMPLIED LINES Sight line - A viewing line that is established by the arrangement of objects within one’s field of vision Are created through mental rather than physical connections Nancy Holt Sun Tunnels 1973-76

  31. LINE NETWORKS Eve Hesse, Untitled, 1970

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