Elements of Three-Dimensional Design

“Reading_1_Stewart_3D.pdf”

Keywords and definitions:

Form

– the physical manifestation of an idea

– can refer to three-dimensionality itself

Types of form:

Volume – an empty three-dimensional form

Mass – a solid form

Positive forms – areas of substance

Negative space – areas of absence (empty space)

Organic forms – forms that visually suggest nature or natural forces

Geometric forms – typically based on cubes, spheres, and other simple volumes.

Static forms – appear stable and unmoving (stability and repose)

Dynamic forms – imply movement

Kinetic forms – actually move

Content

– refers to the idea itself, including the subject matter plus it’s emotional, intellectual, spiritual and symbolic implications.

Orthographic projection

– a method of depicting three-dimensional form on a two-dimensional surface

– uses parallel lines to define structural details – represents six views of a three-dimensional form

– created when you fold or flatten this imaginary box

Perspective drawing

– relies on vanishing points to create the illusion of space

Relief

– is a sculptural technique where the sculpted elements remain attached to a solid background of the same material

– To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane

Three-Quarter Works

– is more three-dimensional. Viewers are able to walk around the piece, examining the front and usually two sides. As a result, this can create a vortex of implied motion.

Freestanding Works – are designed to be seen from all sides.

Environmental Works (or environment)

– presents a space that can be physically entered

Two major types of environment:

Installations

– are usually presented indoors

– is an ensemble of images and objects that are presented within a three-dimensional environment

– Surrounded by information, we become emotionally and physically involved in the artwork

Earthworks

– usually presented outdoors

– is a large-scale outdoor installation

– often extending over great distances in time and space, may require substantial physical engagement by the artist, audience and inhabitants of the site,

Site-Specific Artwork

– is a specifically designed and installed in a particular place

– the idea and the environment are inextricably intertwined

Line

In three-dimensional design, line can be created through…

• A series of adjacent points
• A connection between points
• A point in motion

Line Quality:

Quality determined by the line’s orientation, direction, and degree of continuity, as well as the material used.

Orientation – refers to the horizontal, vertical or diagonal position of the line

Curved lines can carve out more complex patterns in space and may encompass an object to create a harmonious whole.

Direction – refers to the implied movement of a line – a line of consistent width tends to suggest equal movement in both directions. Varying line width can create a more specific sense of direction.

Continuity or linear flow – can increase movement and accentuate form.

Actual lines – through physical presence, actual lines can connect, define, or divide a design.

Implied Lines – are created through mental rather than physical connections

Sight Line – a line extending from an observer’s eye to a viewed object or area (such as a stage

Line Networks – Single lines can bring a simple eloquence to a design, while multiple lines can be used to create strong, complex, and versatile forms.

Plane

– a three-dimensional form that has length and width but minimal thickness.

– Depending on the material used, planes can be transparent or opaque, rigid or flexible.

– Complex surfaces and enclosures can be constructed using folded or bent planes and when slotted together, planes can be used to create a variety of sturdy forms.

Notes on at least two artworks:

• How they relate to the content of the reading
• Why you are interested in them.

Artwork 1:

Antoni Muntadas, The Board Room, 1987

According to the text, upon entering Antoni Muntadas’ The Board Room, the viewer confronts 13 chairs facing a long table. In reference to the Last Supper described in the Bible, these chairs are accompanied by photographs of religious leaders, from Ayatollah Khomeini to Billy Graham. Inserted in the mouth of each man, a small video monitor okays a film clip showing him in action. In this installation, religion becomes an extension of both business and politics. This artwork relates to the content of the reading because it is a prime example of a compelling installation that seeks to inform and involve viewers in the overall experience. The Board Room presents a series of clearly defined figures in a dramatic setting. I appreciate the artist’s ostentatious representation of power, influence and specifically politics – as the attention to detail is evident in the overall arrangement – with the cohesive furniture, picture frames and the strategic placement of the video cameras. Also, in particular, this installation seems more reliant on viewer/audience participation and interaction which is becoming a major trend within the contemporary art scene. 

Artwork 2:

Auguste Rodin, The Kiss, 1886-98

As one section of the reading states, freestanding works are designed to be seen from all sides. When the viewer circles August Rodin’s The Kiss, they can capture every nuance in the movement of the two figures. Details, such as the man’s stroking hand and the woman’s raised heel, add energy to the inanimate marble. This marble sculpture relates to the content of the reading because it illustrates how a freestanding piece enables viewers to fully observe and appreciate the craftsmanship behind its development. Moreover, having the freedom to choose where and when to view the piece fosters a personalized experience. For instance, viewing the statue by day (natural lighting) or during the evening (artificial lighting) may produce unique dramatic lighting schemes that accentuate form and heightens particular emotions. A slight change in the viewer’s position substantially changes the orientation of the two figures. Personally, the fluid, smooth modeling, the very dynamic composition, and the charming theme are what encouraged me to discuss this work. Besides its formal qualities, I appreciate how the simplistic yet abstract title The Kiss, can express the sculpture’s universal character very well. The sculpture, in essence, displays an intimate moment between two lovers and encapsulates the physical and even emotional connection that is shared between two individuals in love. It embodies the ideal romantic companionship that many want or already have which is what makes it such a timeless piece. 

Artwork 3:

Agesander of Rhodes, Laocoön and His Sons, Approx. 27 AD

Agesander of Rhodes’ Laocoön and His Sons depicts a famous scene from the Trojan War. According to legend, a priest from Troy named Laocoon tried to warn his fellow Trojans against accepting a large hollow wooden horse from the Greeks. In attempting to do so, the Greek goddess Athena, intending for the invasion to proceed, supposedly sent two serpents to attack the seer and his two sons in retaliation. Therefore, leading to the success of the Greek soldiers hidden in the horse in gaining entry into Troy. Through physical presence, actual lines can connect, define, or divide a design. In this instance, the writhing serpent compositionally connects the terrified men whilst adding emotional intensity to this tale of Athena’s wrath. Moreover, the interesting positioning and accentuation of each person’s body create depth and a sense of movement despite the statue remaining in a static position. Over the summer, I had the opportunity to observe and analyze the sculpture in person at the Vatican Museum, to the point in which I can confidently validate the points raised within the reading and confirm that it truly is a magnificent sculpture that needs to be viewed in person.