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.
Just like in two D

3. UNITY AND VARIETY CREATING UNITY AND VARIETY USING 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: 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. Containment Proximity Continuity
Gestalt Principles
Grouping
Containment Proximity Continuity
Repetition
Closure

15. 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. DEGREES OF UNITY & VARIETY
INCREASING VARIETY
DEGREES OF UNITY & VARIETY
Sol LeWitt Structure Installation

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

18. Balance of order and disorder
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, x 445 x 355 cm

22. Henry Moore with bronze piece
SCALE
Henry Moore with bronze piece

23. Tom Friedman
Monster Fly,
Mixed media

24. 3 Times Taller Than Wide PROPORTION P R O P O R T I O N PROPORTION
Constantin
Brancusi
Maiastra, 1912
Brass and wood, 29”x7.5”x7.5”

25. Golden Bird, 1919 Bronze, stone and wood, 37” h
P R O P O R T I O N
PROPORTION 7
Times
Taller
Than
Wide
Constantin
Brancusi
Golden Bird, Bronze, stone and wood, 37” h

26. Bronze. Stone, wood 54”x8.5”x6.5”
P R O P O R T I O N
PROPORTION 10
Times
Taller
Than
Wide
Constantin
Brancusi
Bird in Space, 1928
Bronze. Stone, wood 54”x8.5”x6.5”

27. Seated figures, Burlap and glue on steel stands, 41 x 20 x 26 in.
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. La Fortune 1990 felt, mahogany, resin
REPETITION AND RHYTHM
Sherrie Levine
La Fortune 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
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

33. It is the examination of something in detail
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. DAVID SALLE Snow White 2004 oil on linen, 96”X120”
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. DAVID SALLE Snow White 2004 oil on linen, 96”X120”
ANALYSIS PART II
COMMUNICATION OR MEANING/CONTENT: Interpretation
WHAT DO YOU THINK IT IS ABOUT?
WHAT DO YOU THINK THE ARTIST IS TRYING TO COMMUNICATE?
DAVID SALLE Snow White 2004 oil on linen, 96”X120”
Snow White

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

38. DAVID SALLE Snow White 2004 oil on linen, 96”X120”
ANALYSIS PART IV
ANALYSIS PART IV
FORMAL CONSIDERATIONS:
how are I and II achieved?
Use terminology learned from readings and lectures:
GESTALT PRINCIPLES
Grouping, Containment, Repetition, Proximity,
Continuity, Closure
COMPOSITIONAL ISSUES
The combination of multiple parts into a unified or harmonious whole
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”
Experssion: HOW DOES IT MAKE YOU FEEL? WHAT IS YOUR REACTION TO THE IMAGE?


Is there a line quality here?
Is there movement / energy created with line?
What are the shapes?
ART ELEMENTS: 2-D Line, Shape, Texture, Value, Color (5)
3-D Line, Texture, Color, (3) Mass, Plane, Volume, Space, Light, Time PRINCIPLES OF DESIGN: 2-D Unity and Variety; Pattern & Grids; Balance (symmetry, asymmetry, radical) Scale & Proportion; Rhythm, Emphasis, Illusion of Space, Movement
3-D Unity and Variety, Grid & Matrix, Balance, Scale & Proportion, Rhythm, Emphasis

40. Cindy Sherman: From Centerfolds Series, 1981, 2 x 4 foot
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. IV. FORMAL CONSIDERATIONS:
ANALYSIS PART IV
Felix Gonzalez-Torres
Untitled, 1991
Offset print on paper,
endless copies


8 in. at ideal height x 44-7/8
IV. FORMAL CONSIDERATIONS:
How are I and II achieved? Expression/Meaning/Content

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