PRINCIPES OF 3-DPRINCIPES OF 3-D

PRINCIPLES OF THREE DIMENSIONAL PRINCIPLES OF THREE DIMENSIONAL DESIGNDESIGN

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.

UNITY AND VARIETYUNITY AND VARIETYCREATING UNITY AND VARIETY

USING GESTALT PRINCIPLES

Gestalt Principles 6 common strategies for increasing order are:

Grouping Containment

Proximity ContinuityRepetitionClosure

GESTALT PRINCIPLE: GROUPINGGESTALT PRINCIPLE: GROUPING

Juan Munoz, Towards the Corner,1998, wood, resin, mixed media

MARK DION

GESTALT PRINCIPLE: GESTALT PRINCIPLE: GROUPINGGROUPING

TARA DONOVAN

TARA DONAVAN

GESTALT PRINCIPLE: CONTAINMENTGESTALT PRINCIPLE: CONTAINMENT

Ann Hamilton, Offering, (1991)

GESTALT GESTALT PRINCIPLE: PRINCIPLE: CONTINUITYCONTINUITY

Tara Donovan, Pin Drawing, 2010

GESTALT GESTALT PRINCIPLE: PRINCIPLE: CONTINUITYCONTINUITY

AND AND REPETITIONREPETITION

Tara Donovan, Pin Drawing, 2010, Detail

GESTALT PRINCIPLE: REPETITIONGESTALT PRINCIPLE: REPETITION

Eva Hesse, Repetition No. 19, 1968, Fiberglass

GESTALT PRINCIPLE: CLOSUREGESTALT PRINCIPLE: CLOSURE

Debra ButterfieldWalla Walla, 1963, caste bronze, 93" x 122" x 36"

GESTALT PRINCIPLE: CLOSUREGESTALT PRINCIPLE: CLOSURE

Debra Butterfield Earth Measure1997 found welded metal 83 x 120 x 30"

Gestalt Principles

Grouping Containment

Proximity ContinuityRepetitionClosure

CREATING UNITY AND VARIETYCREATING 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

INCREASING VARIETY

DEGREES OF UNITY & VARIETY

Sol LeWitt Structure 1973

Installation

INCREASING VARIETY

Judy Pfaff Flusso E Riflusso 1992 Steel, wire, wood, paint 12’ x 25’ x 20’

GRID AND MATRIX

Leonardo Drew, Number 56,1996 Rust, plastic, wood, 113” x 113”

Balance of order and disorder

vlatko ceric

BALANCE

In design balance refers to the distribution of weight or force

among visual units

PHYSICAL BALANCE

Claus Oldenburg, Denver Art Museum

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

SCALE

Henry Moore with bronze piece

Tom Friedman

Monster Fly, 2008Mixed media

PROPORTION Constantin

Brancusi

Maiastra, 1912Brass and wood, 29”x7.5”x7.5”

3 Times Taller Than Wide

PROPORTIONPROPORTION

Golden Bird, 1919 Bronze, stone and

wood, 37” h

7 Times Taller Than Wide

Constantin Brancusi

PROPORTIONPROPORTION

PROPORTION

Bird in Space, 1928

Bronze. Stone, wood 54”x8.5”x6.5”

10 Times Taller Than Wide

PROPORTION

Constantin Brancusi

REPETITION AND RHYTHM

Magdalena AbakanowicSeated figures, Burlap and glue on steel stands, 41 x 20 x 26 in.

REPETITION AND RHYTHM

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

Sherrie LevineLa Fortune 1990 felt, mahogany, resin

REPETITION AND RHYTHM

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.

ARTS1010 MIDTERM ARTS1010 MIDTERM REVIEWREVIEW

Format for Mid-Term

The FIRST SETFIRST SET you will pick ONEONE image to write an analysis using terminology learned from lecture and your readings

The SECOND SETSECOND SET you will write a COMPARISONCOMPARISON with the TWOTWO images, similarities and non-similarities using terminology learned from lecture and your readings

A B

or

There will be two sets of two images

WHAT IS AN ANALYSIS?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.

ANALYSIS PART IANALYSIS PART I EXPRESSION: WHAT IS YOUR FIRST REACTION?

HOW DOES IT MAKE YOU FEEL?

DAVID SALLE Snow White 2004 oil on linen, 96”X120”

ANALYSIS PART IIANALYSIS PART II COMMUNICATION OR MEANING/CONTENT: InterpretationInterpretation

DAVID SALLE Snow White 2004 oil on linen, 96”X120”

WHAT DO YOU THINK IT IS ABOUT? WHAT DO YOU THINK THE ARTIST IS TRYING TO COMMUNICATE?

Snow White

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”

ANALYSIS PART IVANALYSIS PART IV

ANALYSIS PART IVANALYSIS 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”

ELEMENTS OF ELEMENTS OF DESIGNDESIGNLine, Shape, Texture, Value, Color

PRINCIPLES OF PRINCIPLES OF DESIGN DESIGN Unity and Variety, Pattern & Grids, Balance, Scale & Proportion, Rhythm, Emphasis, Space,Movement

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”

GESTALT GESTALT PRINCIPLESPRINCIPLES

Grouping, Containment, Repetition, Proximity,Continuity, ClosureCOMPOSITIONAL COMPOSITIONAL

ISSUES ISSUES The combination of The combination of multiple parts into multiple parts into a unified or a unified or harmonious wholeharmonious whole

ANALYSIS PART IVANALYSIS PART IV

ANALYSIS PART IANALYSIS PART I EXPRESSION:

Fred SandbackBlue Day-glo Corner Piece, 1968/20041/32" Elastic Cord & Spring Steel14 x 12 x 6”

ANALYSIS PART IIANALYSIS PART IIII. 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 artpiece?)

Cindy Sherman: From Centerfolds Series, 1981, 2 x 4 foot

ANALYSIS PART IVANALYSIS PART IV

IV. FORMAL CONSIDERATIONS: How are I and II achieved? Expression/Meaning/Content

Felix Gonzalez-Torres Untitled, 1991Offset print on paper, endless copies8 in. at ideal height x 44-7/8

COMPARISONCOMPARISON

Sol LeWitt Incomplete Open Cube, 7/18,

1974, Painted AluminumWu Junyong, Opera, 2006, 60 x 80 cm