chapter 9
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Activated Space The space in an artwork may be contemplative, agitated, or even threatening. For example, a Japanese Zen garden is usually made from an enclosure containing several large rocks surrounded by carefully raked white sand. These simple objects create a contemplative space. By contrast, the space in Anish Kapoor's sculptures is often disorienting. Placed at the entrance to Millennium Park in Chicago, Cloud Gate reflects the surrounding buildings while the lower "gate" section visually pulls the viewer into a reflective interior chamber (9.46).
Split Complementary
color scheme uses three colors: A color and two other colors that are directly adjacent to the first color's complement on the color wheel. Three colors—the main color and colors from either side of its complement Red, Yellow-Green and Blue-Green Yellow, Blue-Violet and Red-Violet Green, Red-Violet and Red-Orange
stylized art
it's represented in a non-naturalistic conventional form. The heart-shaped symbol in the popular phrase "I heart NY," for example, is a classic stylized representation of a real heart. referring to visual depictions that use simplified ways of representing objects or scenes that do not attempt a full, precise and accurate representation of their visual appearance (mimesis or "realistic"), preferring an attractive or expressive overall depiction. Art where the visual elements conform to a set of conventions regarding the representation of form. Simplified or exaggerated images; cartoon-like
color scheme
An arrangement or combination of colors that are carefully selected to capture the attention and/or set a mood for the user when viewing a project
Ambient light, Directed light
Ambient and Directed Light ______ _______ encompasses an entire space or setting. For example, when we enter an open courtyard on a sunny summer afternoon, we are surrounded by warm ambient sunlight. Everything we see is colorful and brightly lit. _____ ________ is localized and focused, like a spotlight on a singer. Exhibition designers are masters of light. They use directed light to focus the viewer's attention and increase visual drama. They use ambient light to create the underlying feeling. For example, the designers of a 1989 NASA exhibition used low ambient light to suggest the mystery of space travel. They then used bright pools of directed light to emphasize individual displays (9.57).
Secondary color
A secondary color is a color made by mixing of two primary colors in a given color space. any color produced by combining equal amounts of any two primary colors Green, purple and orange used together
hue, value, saturation, Temperature
COLOR Color definitions remain the same whether we are creating a three-dimensional or a two-dimensional composition. Each color has a specific _____ (9.61A), based on its wavelength. _______ (9.61B), the lightness or darkness of a color, helps determine legibility. Intensity, or __________ (9.61C), refers to a color's purity. __________ (9.61D) refers to the physical or psychological heat suggested by a hue. For example, red is a warm color; blue is a cool color.
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Degrees of Texture Variations in the surface of a volume may be subtle or pronounced. In Blackware Storage Jar, by Maria Montoya Martinez and Julian Martinez (9.49), the artist combined a burnished, shiny surface with a subtle matte surface. Geometric patterns enhance the jar's surface but never compete with the purity of the graceful globe. On the other hand, Walter Oltmann's Caterpillar Suit (9.50) is abuzz with exuberant texture. He combined wire mesh and hundreds of individual wires to create an oversized insect. Like an actual caterpillar, the result is both whimsical and threatening. Will we be tickled or stung when we touch this weird creature?
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Color and Emotion A visit to any car dealership demonstrates the emotional implications of color. Car manufacturers often market bright red, black, or silver sports cars as oversized toys for single drivers, while they often use more subdued colors for the minivans and station wagons, which families favor. Taking this idea a bit further, in a children's wheelchair design, Adele Linarducci used bright red, yellow, and blue to provide a sporty look-and add a psychological boost. On the other hand, it is the absence of color that brings power to the life-size figures in George Segal's installations. Despite their proximity to the viewer and their large scale, the white figures in Walk, Don't Walk (9.68) are drained of color, alienated, and emotionally distant.
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Compression and Expansion Space is never passive or meaningless. It is just as important as the surrounding substance and can be manipulated very deliberately. The tangibility of space is especially apparent in Richard Serra's and Walter de Maria's artworks. Using four enormous steel plates, Serra created a sense of spatial compression in figure 9.44. Upon entering the piece, the viewer immediately becomes aware of the tilted planes' weight and of the claustrophobic compressed space between these planes. The space in de Maria's The Lightning Field (9.45) is equally clearly defined yet is wonderfully expansive. Arranged in a grid over nearly 1 square mile of desert, 400 steel poles act as a collection of lightning rods. Impressive even in daylight, the site becomes awe-inspiring during a thunderstorm Lightning jumps from pole to pole and from the sky to earth, creating a breathtaking pyrotechnic display.
Continuity
Continuity __________, (degree of connection or flow among compositional parts) or linear flow, can increase movement and accentuate form. In Chris Burden's Medusa's Head (9.23), a mad tangle of toy train tracks flows around and through the mass of stone, plywood, and cement. Representing the snakes that crowned the head of a mythical monster, these writhing lines accentuate the spherical mass and give us a fresh interpretation of an ancient Greek myth.
Freestanding works
Freestanding Works _________ _____ can be viewed from all sides. When we circle Auguste Rodin's The Kiss (9.11A and B), we capture every nuance of figurative movement. Details (such as the man's stroking hand and the woman's raised heel) bring life to the inanimate stone.
Neutral color
In color theory, black, white, and gray used to change the nature of hues, creating shades, tints, and tones. beige, ivory, taupe, black, gray, and white ars include black, white, gray, and sometimes brown and beige. They are sometimes called "earth tones. uses a color that has been reduced by adding black
installation
Installations An ________ is an ensemble of images and objects that are presented within a three- dimensional environment. 9.12 Yayoi Kusama, Fireflies on the Water, 2002. Installed at the Whitney Museum of American Art, 2012. Mirror, plexiglas, 150 lights and water, overall size 111 X 14412 X 144/2 in. (281.9 x 367 X 367 cm). Surrounded by information, we become emotionally and physically involved. Yayoi Kausama's Fireflies on Water (9.12) is a spectacular example. Combining mirror plexiglas, 150 suspended lights, and a pool of water, she created a shimmering and apparently infinite world. Upon entering the space via a small platform, each viewer becomes part of the artwork itself.
Light
LIGHT ______ can enhance or obscure our understanding of form. It can entice us to enter a room, heighten our emotions, and create a mystery. It can even become a sculptural medium in its own right. Often overlooked, light is actually a pivotal aspect of three-dimensional design.
line, adjacent points, connection, motion
LINE Line is one of the most versatile elements. In three- dimensional design, we can create ______ through the following: A series of ________ ________. The cars that make up Ant Farm's Cadillac Ranch (9.17) are distinct objects in themselves as well as the points that create a line of cars. Commissioned by a rancher in Texas, some have described this sculpture as a requiem for the gas-guzzling American automobile.? A __________ between points. Kenneth Snelson constructed Free Ride Home (9.18) using two types of line. The aluminum tubes provide a linear skeleton that becomes elevated when the connecting lines are attached. The resulting diagonal lines seem to defy gravity. A point in ______. In combination with New Year's Eve fireworks, skiers in Taos, New Mexico, zoom down a major slope carrying flashlights. Figure 9.19 shows that they create lines of light from each moving point
quality
Line Quality Each line has its own distinctive ________. Orientation, direction, continuity, and material all contribute to this distinctive quality
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TEXTURE • How many textures can you create with the material you are using? • What happens visually when a surface gradually shifts from a polished, smooth texture to a very rough texture? Can an unexpected use of texture enhance or expand the idea that you want to convey?
mass
MASS A ________ is a solid three-dimensional form. A massive object can be as dense and heavy as a bar of gold or as light and porous as a sponge. Massive sculptures are often carved from a solid block of plaster, clay, or stone or cast using bronze, glass, or other materials. Solid and imposing, they tend to dominate the environment in which they are placed. Henry Moore's Locking Piece (9.36) gains power through a combination of mass and visual movement. Almost 12 feet tall, the interlocking bronze forms are as emphatic and muscular as a clenched fist. A dialogue between curves and angular forms adds variety and invites the viewer to experience the sculpture from every side. Massive forms tend to suggest stability, power, and permanence. The ancient Olmec heads from Mexico combine the abstract power of a sphere with the emotional power of a human head (9.37 Ledelle Moe's large-scale sculptures are equally powerful (9.38). Constructed from 200 or more puzzle pieces, when installed, these reclining heads seem to dream only tragic dreams. Even though they are hollow, the sculptures appear solid and imposing. Tom Friedman produced a very different type of mass in figure 9.39. He cut hundreds of pencils at various angles, and then reconstructed them to create an energetic maze.
Achromatic
No color—just blacks, whites and greys colorless
Actual time, implied time, viewing time
TIME Every object occupies a position in time as well as space. In some cases, the specific temporal location is of minor importance. For example, Locking Piece (see figure 9.36, page 195) is as meaningful now as it was when Henry Moore constructed it in 1963. Constructed from durable bronze, it has effectively withstood the test of time. In other cases, temporal location gives the object its meaning. As noted on page 191, Nancy Holt's Sun Tunnels creates a kind of celestial observatory. Light pours through the holes in the curving walls, creating projections that mark the planet's movement. Without the element of time, the concrete tunnels would have no more meaning than drainage pipes at a construction site. Two aspects of time are particularly important to sculptors. _______ _______ refers to the location and duration of an actual temporal event such as a bowling ball rolling along a track. By contrast______ ______ is an event's suggested location or duration. The traffic light in Segal's Walk, Don't Walk changes, but the sculptural figures never move. Actual motion and implied motion are equally important. In a brilliant use of actual time, actual motion, and natural forces, Ned Kahn constructed Wind Veil (9.70) from 80,000 aluminum panels. Activated by each breath of wind, the wall shimmers with both energy and light. By contrast, Shuttlecocks (9.71), by Claes Oldenburg and Coosje van Bruggen, seems to capture the oversize game pieces just as they begin to hit the ground. In this case, the artwork depends on implied time and motion for its impact. A final example combines time and motion with anticipation. Positioned alongside Michigan Avenue in Chicago's Millennium Park, Jaume Plensa's Crown Fountain (9.72) attracts thousands of visitors each summer day. The work projects smiling images of everyday people from various city neighborhoods on the multiple video screens contained within each five- story tower. Every 15 minutes, the projected face purses its lips and a stream of water bursts forth, drenching the delighted children waiting below. ________ _________ is a final basic consideration. The multiple surfaces presented by any three-dimensional object require extended analysis. We walk around Rodin's The Kiss (figure 9.11A and B, page 185), noting every nuance in form and texture; we rotate a ceramic vessel in our hands, savoring every detail. Fireflies on Water (see figure 9.12, page 185), Part II: Excursus (see figure 9.56, page 206), and other installations require even more viewing time. To understand the artwork, the viewer must enter and fully explore the site.
Orientation
Orientation _________ refers to the line's horizontal, vertical, or diagonal position. Based on our experience in the natural world, we tend to associate horizontal lines with stability and diagonal lines with movement. Vertical lines tend to accentuate height and can make an object or an interior appear grand and imposing. Mark di Suvero uses all three types of line in Are Years What? (9.20) as does Peter Pierobon in Ladderback Chair (9.21). A vertical I-beam combined with one horizontal beam stabilizes di Suvero's large-scale sculpture. Six diagonals suggest movement and increase dynamism, by contrast, it is the tall vertical back that transforms Pierobon's chair into a whimsical sculpture. Its exaggerated height pulls our eyes upward and provides support for the nine jagged lines that create the rungs of the ladder. Curved lines can carve out complex patterns in space and may encompass an object to create a harmonious whole. Rob Ley's Draper (9.22), transforms straight vertical lines into a cascade of silvery movement. By distorting the original sheet of aluminum, Ley created a large-scale artwork that is beautiful and light in weight.
point, array
POINT A _______ is a basic mark, such as a dot, a pebble, or a brushstroke. Just as the appearance of a single actor on an empty stage can electrify an audience, so the simplest point immediately creates a dialog with the surrounding space. For example, in figure 9.15, Andy Goldsworthy transformed a pile of stones by covering just one of them with bright red leaves. When multiplied, points produce an _______ of visual information that an artist can use to create rich textures or build entire images. German design firm Art+Com created Kinetic Rain (9.16) from hundreds of metal raindrops controlled by tiny motors. Continually shifting, these points create a wide range of sculptural variations.
patina
a green or brown film on the surface of bronze or similar metals, produced by oxidation over a long period. a fine coating of oxide on the surface of a metal
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The Implications of Texture On a compositional level, texture can enhance or defy our understanding of a physical form. In figure 9.51, the lines carved into the vessel's surface increase our awareness of its dimensionality. Concentric circles surrounding the knobs at the base of each handle create a series of visual targets that circle the globe, while additional grooves accentuate the surface of the sturdy handles. On a conceptual level, texture can add layers of meaning to art and design. In his Alien Sculpture series (9.52), Francesco Mai digitally created structures that combine mechanical with organic forms. Dramatic lighting in these images accentuates each knob and spike. Like improbable sea creatures, the resulting forms seem alive and ready to engulf or entrap their prey. key questions
Triad color
This color scheme makes use of three colors that are equally spaced from each other on the color wheel. Red,Yellow and Blue Yellow, Blue-Violet and Red-Violet Green, Violet and Orange Combines three colors equidistant on the color wheel and has a great deal of contrast Colors that are equally spaced (3spaces) on the color wheel. Three colors from equidistant points on the color wheel
Monochromatic
This color scheme uses two or three colors from the same color family on the color wheel: Dark Blue and Light Blue Dark Green, Grass Green and Light Green Purple and Lavender Different shades and depths of a single color
Analogous color
This scheme uses one color along with the colors on either side of it on the color wheel: Green, Blue-Green and Yellow-Green Yellow, Yellow-Green and Green Yellow, Yellow-Green and Yellow-Orange colors that are next to each other on the color wheel The main color and the colors from either side of it on the color wheel
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Three-Dimensional Design Elements Eddie Chui's chess pieces (figure 6.7, page 130) rock back and forth on their curving bottoms. When the pieces are used in a game, their polished sides and hefty weight delight the players who hold them. Richard Hunt's Sisiutl Mask (figure 5.10, page 110) represents a mythic three-headed sea serpent whose glance can transform an adversary into stone. Xu Bing's A Book from the Sky (9.1) is more conceptually challenging. It consists of printed volumes and scrolls containing thousands of "false" Chinese characters that he invented and then painstakingly hand-cut into wooden printing blocks. Those of us who are not fluent in Chinese may admire the graceful characters and wonder at their meaning. Those who do know Chinese find that their familiar cultural references have turned into conceptual chaos. In each of these three examples, we are engaged physically, mentally, and emotionally. While a painting or video can pull us into an imaginative world, a sculptural object offers a tangible presence that is powerful in itself. In the hands of a skillful artist or designer, this raw power translates into insight and energy. Point, line, plane, volume, mass, space, texture, light, color, and time are the basic building blocks of three-dimensional design. In this chapter, we consider the unique characteristics of each.
three-quarter work
Three-Quarter Works A ______-_______ _________, such as Jean-Baptiste Carpeaux The Dance (9.10) is more three-dimensional. We can walk around this piece, examining the front and two sides. As a result, the joyous figures seem to dance right out of the wall.
values,
Value and Volume Whenever light pours across a surface it produces a graduated series of highlights and shadows. These ______ (that is, variations in light and dark are our primary means of perceiving space. As a result, lighting can greatly diminish the impact of a sculptural object. Giovanni Bernini's Ecstasy of Saint Teresa di Avila (9.53) depicts a mystical experience. As Saint Teresa described it, an angel plunged an arrow into her heart, overwhelming her with a love of God. Brightly illuminated from above with softer side lighting, the dramatic sculpture seems to glow. Product designers are equally aware of the importance of light. A badly lit form will lack definition and impact, while even the simplest form will attract attention when it is dramatically lit. In figure 9.54, highlights, gradations, and shadows give definition to each of Stan Rickel's Teapot Sketches.
tetradic color
a combination of 2 complementary color pairs
objective art
art has a clear and recognizable subject matter
primary color
red, yellow, blue
actual lines
Actual Lines Through their physical presence, ______ _______can connect, define, or divide a design. Laocoon and His Two Sons (9.24) depicts a scene from the Trojan War. When the Greeks offer a large, hollow wooden horse to the Trojans, Laocoön warns against accepting the gift. The Greek goddess Athena then sends two serpents to attack and kill the seer, thereby gaining entry into Troy for the soldiers hiding in the horse. The writhing serpent compositionally connects the terrified men while adding emotional intensity to this depiction of Athena's wrath.
contrasting
Contrast Artists and designers often use ________ colors to accentuate a product's function or to create a distinctive image. Contrasting colors and contrasting materials distinguish Michael Graves's Alessi Coffee Set (9.66). A metallic armor protects the fragile, transparent glass. These metal bands emphasize the cylindrical forms, while the blue handles and bright red accents further animate the set. The 15-foot-tall inflatable sphere Kurt Perschke uses in his RedBall Project (9.67) seems almost too simple. How can we call this art? However, when wedged into alleyways, under expressways, and in other tight spots, the cherry red sphere animates the surrounding gray building. It has traveled to over a dozen cities around the world, always attracting large audiences.
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Degrees of Dimensionality The degree of dimensionality greatly influences our response to sculptural objects. Relatively flat artworks can combine the strengths of two-and three- dimensional design, while we are invited to view free-standing artworks from many angles.
harmony, Analogous colors,
Degrees of Harmony Selecting the right colors for a product and determining the degree of color _______ can make or break a design. The triadic harmony that FisherPrice used in the Smartronics Learning System (9.62) creates an attractive educational toy for young children. The large red, yellow, and blue buttons are easy to push and invite even the most skeptical child to play. Kita Collection, by Toshiyuki Kita (9.63), offers a very different type of harmony. These simple chairs with their removable seats can be color-customized to fit any interior. The buyer can create his or her own sense of harmony. __________ _______, such as green, blue, and violet, can be especially harmonious. In Reflection (9.64), Do Ho Suh used such colors to produce a mysterious mirrored image. He combined an inverted gatelike form with its reflected counterpart to create an installation that was both magical and meditative. We can also use clashing colors effectively. In figure 9.65, Keith Edmier portrays his pregnant mother on the day of President Kennedy's assassination. She is wearing the same Chanel suit pattern that Jackie Kennedy wore, and she pensively rubs her glowing belly. The artist himself appears as a fetus in the womb. The orange-reds and purple-reds suggest traditional monochromatic harmony but seem skewed and off-key. While the surface of normalcy remained intact, the substance of American politics shifted after Kennedy's death. Likewise, while the artist's mother seems calm, the colors and materials suggest an undercurrent of anxiety.
Direction
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. For example, in Jefferson National Expansion Memorial (see figure 9.4, page 182), the massive lines at the bottom drive downward into the earth, while the tapered arch at the top lifts our eyes skyward.
earthwork
Earthworks An ________ is a large-scale outdoor installation. Often extending over great distances in time and space, earthworks may require substantial physical engagement by the artist, the audience, and inhabitants of the site. Robert Smithson's Spiral Jetty (9.13) is a classic example. This 1,500-foot-long coil of rock and earth extends from the shore into the water of the Great Salt Lake in Utah. For Smithson, the spiral created "a dot in the vast infinity of universes, an imperceptible point in a cosmic immensity, a speck in an impenetrable nowhere."1 Remote and mysterious, this artwork evokes a cosmic connection that extends far beyond the walls of a museum or gallery.
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Entering Space Some artists design their sculptures so that viewers can enter them physically, thus creating a unique experience. Lucas Samaras's Mirrored Room (9.47) multiplies and divides the reflection of each visitor who enters. Taking it even further, Yayoi Kasuma's Fireflies on the Water (see figure 9.12, page 185) surrounds the viewer with suspended lights and reflective water. Other artists create their works so that we can only enter them mentally. Subway with Silver Girders (9.48), by Donna Dennis, re-creates the architecture and lighting that we find in a subway station. Constructed at two-thirds the scale of an actual station, the sculpture presents a magical entry into a prosaic place. This subway station transports our minds rather than our bodies.
environmental work
Environmental Works An __________ ______ (or environment) presents a space that we can enter physically. Installations (which are usually indoors) and earthworks (which are usually outdoors) are two major types of environments. Such works often require active audience participation and may present a series of images, ideas, and experiences that unfold over time.
form, content, three-dimensionality, volume, mass, positive forms, negative space, organic forms, geometric forms, mechanical forms, static forms, dynamic forms, kinetic form
FORM In Chapter Seven, we defined _____ as the physical manifestation of an idea. ________ refers to the idea itself, including the subject matter plus emotional, intellectual, spiritual, and symbolic implications. In three-dimensional design, form can refer also to ____-__________ itself. For example, a circle, a square, and a triangle are two-dimensional shapes, and a sphere, a cube, and a pyramid are three-dimensional forms. Types of Form We generally define an empty three-dimensional form as a ______, while we generally define a solid form as a ______. An effective three-dimensional composition balances ______ ______ (areas of substance) with ______ ______ (areas that are open). ______ ______ (forms that visually suggest nature or natural forces) create a very different effect than ______ ______ based on cubes, spheres, and other simple volumes. ______ ______, such as belts and gears, can suggest an industrial source. The degree of actual or implied movement in a form can expand our vocabulary even further. ______ ______ appear stable and unmoving. Designed to last forever, the Great Pyramids at Giza exemplify stability and repose. ______ ______ imply movement. Suspended from the ceiling, Richard Wilson's Slipstream (9.2) captures the twisting action of a stunt plane in flight. ______ ______ actually move. Theo Jansen's Strandbeest Series (9.3) includes enormous wind-propelled structures that wiggle, walk, or slither down the beach. They seem to have been born of a marriage between an erector set and Jurassic Park.
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FORM • Experiment with organic, geometric, and mechanical forms. Which is best suited to the idea that you wish to express? • What mix of static and dynamic artwork will best support your idea? . Will the addition of a kinetic component add to the overall effect? • When you are creating a freestanding artwork, how much similarity and how much contrast do you require on each side? What does the viewer gain by walking around the artwork?
functional, function
Form and Function A sculptor explores an idea, chooses materials, and develops a composition based on his or her aesthetic intention. Public art projects, such as Eero Saarinen's Jefferson "National Expansion Memorial" (9.4), and ritual objects, such as the Sisiutl mask, commemorate historical events or express social values. A designer uses the same mastery of concept, composition, and materials to create an object that is ____________ as well as beautiful. Before creating a new line of aquatic gear, designer Bob Evans carefully analyzes the needs of different types of swimmers. The basic Force Fin (9.5A) provides the required maneuverability for snorkeling. He designed the Multi Force Fin (9.5B) as a strength- training device. The Excellerating Force Fin (9.5C) provides the extended power that scuba divers need. For designers such as Evans, the form must fulfill a specific _________, or purpose.
Implied lines, sight line
Implied Lines _______ _______ are created through mental rather than physical connections. The Rape of the Sabine Women, by Giovanni da Bologna (9.25), relies on a series of implied lines for its impact. Starting at the bottom and exploding upward, the repeated diagonals in the sculpture create a visual vortex as powerful as a tornado. At the bottom is the husband of the captured woman. In the center, a standing Roman soldier is intent on stealing a wife for himself. The agitated movement culminates at the top with the embattled woman's extended arm. A _____ _______ (a viewing line that is established by the arrangement of objects within one's field of vision)activates Nancy Holt's Sun Tunnels (9.26). At first glance, the four 22-ton concrete tunnels seem static. Upon entering each tunnel, the viewer discovers a series of holes that duplicate the stars' size and position in four major constellations. The light pouring in through these holes shifts as the sun rises and travels across the sky. During the winter and summer solstices, the sculpture further transforms as the circular tunnels' alignment frames light from the rising and setting sun. Like a telescope, the massive cylinders are more important for the visions that they create than as objects in themselves.
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Light as Sculpture Contemporary artists and designers use many types of sculptural light. Some shape neon tubes into sculptural forms. Others use commercial lighting fixtures and illuminated signs to convey aesthetic meaning. Still others project light onto various shapes and surfaces, creating effects ranging from the humorous to the tragic to the bizarre. Projection and containment are two common ways to create sculptural light. The neon tubes in Robert Irwin's Excursus emit light, while Ruth Asawa used projected light to create expressive shadows. Stephen Knapp creates his light paintings (9.58 and 9.73, page 214) when light passes through shards of colored glass, producing an explosion of prismatic color. In all these cases, light is an essential component of the artwork. The expressive possibilities increase when an image is projected onto a specific surface. On the anniversary of the bombing of Hiroshima, Krzysztof Wodiczko combined video interviews with a specific architectural structure—the Hiroshima Peace Memorial, one of the few buildings that remained standing after the explosion (9.59). Standing near the epicenter, over 5,000 spectators heard the stories of Japanese and Korean survivors from World War II. With the increasing use of new media, light has become an eloquent and versatile addition to the elements of three-dimensional design. Moving beyond its traditional role in accentuating form, it has become a sculptural medium in itself. For example, in The Veiling (9.60), Bill Viola hung thin sheets of translucent fabric on parallel lines across the center of a darkened room. He projected a man's image from one end, while he projected a woman's image from the opposite end. These projections became increasingly dif- fused as they passed through the multiple layers of cloth. Finally, the two figures merged on a central veil as pure presences of light.
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Linear Networks Both artists and designers use linear networks in many different ways. In figure 9.27, interlocking metal lines form the woven mesh on a fencer's mask. Due to its linear construction, it is light in weight and protects the athlete's face without blocking vision. Janet Echleman's Tsunami 1.26 (figure 9.28) was created using thousands of polyester fiber threads. Suspended above a busy city street, this artwork continually shifts shape, like an undulatino jellyfish. Single lines can bring a simple eloquence to a design, while multiple lines can be used to create strong, complex, and versatile forms.
plane
PLANE A ________ is 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, flat or curved. We can construct enclosures using folded or bent planes. When slotted together, planes can create a variety of sturdy forms (9.29). As Maya Lin's Blue Lake Pass (9.30) demonstrates, when modified incrementally and organized sequentially, planes can create forms that are as descriptive as a mountain climber's map. Planar contructions can be relatively light in weight as well as physically strong. As we noted on page 181, Richard Wilson designed Slipstream for Terminal 2 at London's Heathrow Airport. Inspired by the movements of a flying plane, he needed to capture an elusive idea within a suspended form. By combining a wooden interior structure with thin sheets of aluminum, he was able to suggest motion across the 230-foot-long sculpture.
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Positive and Negative Space Every area of three-dimensional design demonstrates the interrelationship between space and substance. A central void dominates David Smith's Cubi XXVII (9.41). The 10 gleaming metallic volumes are activated by the space they enclose. Space plays an equally important role in representational work. The open mouth in figure 9.42 really animates the mask. No facial expression, however extreme, would be as lively if this mouth were closed. Negative space is especially noticeable in designs that are dominated by positive form. Karen Karnes's Vessel (9.43) is a functional pot, with its internal bottom placed just above the vertical slit. In effect, the lower half of the design serves as a pedestal for the functional container at the top. This narrow slit of negative space presents a strong contrast to the solidity of the cylindrical form and helps to activate the entire vessel.
relief
Relief When working in ______, the artist uses a flat backing as a base for three-dimensional forms. For example, Robert Longo's Corporate Wars (9.9), is like a sculptural painting. Using the boundaries created by the supporting wall and the four outer edges, it presents a group of white-collar warriors engaged in hand-to-hand combat. The figures are trapped, bound both to the backing and by their struggle for money.
figurative art
Representational art in which the human form (rather than the natural world) plays a principal role. sometimes written as figurativism, describes artwork—particularly paintings and sculptures—that is clearly derived from real object sources, and are therefore by definition representational.
space
SPACE In three-dimensional design, _______ is the area within or around an area of substance. As soon as we position an object in space, we create a dialogue between a form and its surroundings. Space is the partner to substance. Without it, line, plane, volume, and mass lose both visual impact and functional purpose. The proportion of space to substance triggers an immediate response. The space in Alice Aycock's Tree of Life Fantasy (9.40) seems fluid and weight- less. Inspired by the double-helix structure of DNA and by medieval illustrations showing people entering paradise through a spinning hole in the sky, Aycock combined a linear structure with a series of circular planes. The resulting sculpture is as open and playful as a roller coaster. By contrast, Burden's Medusa's Head (see figure 9.23, page 190) presents a relatively solid mass of tangled cement, wood, and metal. With sculptures of this kind, the surrounding space becomes more important than any enclosed space. Like a stone dropped into a glass of water, this large, heavy mass seems to displace the surrounding space, pushing it into the edges of the room.
site-specific
Site-Specific Artwork A ______-______ artwork is designed for and installed in a particular place. Commissioned by the port city of Algeciras in Spain, Mano y Bola (9.14) rests on a bluff overlooking the Strait of Gibraltar. The 40-foot-long hand may be catching or throwing the 20-foot-tall ball positioned roughly 50 feet away. This artwork metaphorically alludes to the historical exchange of religion, power, and conflict between Europe and Africa. To heighten the metaphor, sculptor Todd Slaughter designed the hand to disappear when the wind blows. He covered it with over one thousand movable panels that create the image of a hand. A brisk wind shifts the panels to a horizontal position, causing the image to dissolve visually into the surrounding sky. key questions
transparent, refracted, Reflective, translucent
Striking a Surface Light is strongly affected by the surface it strikes. Light creates a continuous series of values when it strikes an opaque surface. Light behaves very differently when it strikes a ___________ surface, such as clear plastic or glass. It is often _________ (or bent), creating a complex network of luminous shapes. __________ surfaces can bounce light back into space. As a result, objects that are made from polished steel, mirrors, and other reflective materials can appear to emit their own light. A _________ surface is partially transparent. Neither fully opaque nor fully transparent, translucent surfaces can be mysterious and evocative. Each surface type can be used expressively. The movement of seven opaque figures in and out of light dominate The Dance (figure 9.10). Light and shadow accentuate the exuberant dancers' action. The same composition would dissolve into visual chaos if it were cast in transparent glass. Cast shadows further expand expressive potential. In Ruth Asawa's sculptures (9.55), suspended organic forms seem to float through the silent space. Spotlights illuminate the sculptures and create mysterious cast shadows. Translucent materials can create even more complex effects. Robert Irwin's Part II: Excursus: Homage to the Square (9.56) was installed at the Dia Center for the Arts in New York in 1998-99. This structure consisted of nine cubic rooms, defined by delicate translucent cloth walls. The fabric's translucency varied depending on the amount and location of the light. Two vertical fluorescent lights illuminated each cube, creating subtle changes in color from room to room. Entering the installation was both inviting and disorienting. From any point, all of the rooms were visible yet veiled. The fabric layers and the variations in light made the most distant rooms appear to dissolve. The vertical fluorescent lights, which always remained visible, read first as individual, then as mirror images, creating a hallucinatory experience similar to a carnival funhouse. All activity within the space was created by the visitors themselves, who entered, explored, and left the installation like ghostly silhouettes.
Symbolic color
Symbolic Color __________ _______ is culturally based. Because each culture is unique, color associations vary widely. For example, yellow signifies the direction north in Tibet but represents the qualities of light, life, truth, and immortality to Hindus. Blue represents mourning in Borneo, while in New Mexico it is painted on window frames to block evil spirits from entering. It represented faith and truth to the Egyptians yet was the color worn by slaves in Gaul. The blue face that dominates the Aztec mask of Tlaloc (9.69) is both symbolically and visually appropriate. Symbolically, the blue represents sky and the rain that Tlaloc calls forth to nourish crops. Visually, the contrast between the warm, reddish clay and the sky- blue paint enhances the impact of the ferocious face.
Texture
TEXTURE __________ refers to the visual or tactile quality of a form. The increased surface area of a three- dimensional form heightens the impact of texture. The surface shifts and turns, presenting many opportunities for textural elaboration.
volume, polyhedra
VOLUME In general terms, volume is the amount of space an object occupies. In three-dimensional design, _________ refers to an enclosed area of three-dimensional space. Cubes, cylinders, cones, and spheres are among the most common volumes that we find in both nature and architecture. Fascinated by such "biological structures," Kendall Buster has created entire exhibitions using large-scale, translucent volumes (9.31). By contrast, seemingly weightless organic volumes comprise Xiao Min's Secret Room (9.32). Using a twelfth-century Chinese sex manual as a source, he constructed a series of life-sized couples embracing. Made from translucent sheets of steel mesh, the suspended figures are both dream-like and erotic. Designers often create functional objects using _________, or multifaceted volumes (9.33). Such volumes can be surprisingly strong. In beginning industrial design classes, students often use a variety of polyhedra to construct lightweight bristol board helmets. And in figure 9.34, Manuel Villa constructed an entire house based on a polyhedron. The specific amount of enclosed space is especially important when we create any kind of container, from architecture to glassware. The Ginevra Carafe, by Ettore Sottsass (9.35), easily holds a liter of wine. The elegant cylinder requires little table space, and an extra disk of glass at the base increases its weight and stability. An additional glass disk at the top ensures that the lid will remain firmly in place. Linear networks, folding, and slotting are a few of the strategies artists and designers use to create volume. Defining an enclosed space while maintaining structural integrity is essential. If the structure fails, the volume will collapse and the space will be lost. Each strategy has its advantages. As the fencer's mask in figure 9.27 demonstrates, woven structures can be elegant, lightweight, and remarkably strong. On the other hand, package designers generally create volume through folding. Sturdy Bristol paper can be printed while flat, then scored, cut, and folded. And surprisingly strong volumes can be created using slotted planes. Slotted structures can be used to protect and separate fragile contents (such as wine bottles) and hold them in a specific position.
Height, width, depth, Orthographic projection, parallel, 6
Visualizing Form _______, _______, and _______ are the three dimensions in three-dimensional design. In computer-aided design, we define these three dimensions using the x-, y-, and z-axes from geometry (9.6). Using the cube as a basic building block, we can create many variations on these basic dimensions. In figure 9.7A, the cube is modified through removal and displacement. In figure 9.7B and C, additional planes and unexpected intersections increase complexity. There are many methods of depicting three- dimensional form on a two-dimensional surface. ______________ ______________ is one of the most useful. Unlike perspective drawing, which relies on vanishing points to create the illusion of space, orthographic projection uses _________ lines to define structural details. An orthographic projection represents ___ views of a three-dimensional form. Imagine that your project is enclosed in a glass box (9.8A). As you look through the top, bottom, front, and back, then through the right and left sides, you can see six distinctive views. In effect, you can create an orthographic drawing when you unfold and flatten this imaginary box (9.8B). Using orthographic projection, we can examine and record various surfaces of a three-dimensional object (9.8C).
representational form
art or figurative art represents objects or events in the real world, usually looking easily recognizable. For example, a painting of a cat looks very much like a cat- it's quite obvious what the artist is depicting.
abstract art
art that does not attempt to represent external reality, but seeks to achieve its effect using shapes, forms, colors, and textures. essence art that does not attempt to represent external reality, but seeks to achieve its effect using shapes, forms, colors, and textures.
nonobjective art
art that does not portray figures or objects; art without real models or subject matter is a general term that defines abstract art forms that lack adherence to identifiable, quantifiable, and observable characteristics of the living world.
Complementary color
directly across from each other on the color wheel Colors located directly opposite one another on the color wheel Red and Green Red-Orange and Blue-Green Orange and Blue Violet and Yellow
a
key questions COLOR • Which will better communicate your ideas—a limited range of hues or a wide range of hues? Are all the colors in your design similar in intensity? What would happen if you combined low-intensity colors with high-intensity colors? • What is the proportion of warm and cool colors in your design? What would happen if these proportions were changed? • What are the conceptual or symbolic implications of the colors you have chosen?
a
key questions LIGHT • How can lighting direction diminish or accentuate your artwork's dimensionality? • Does your artwork require special illumination, such as an internal light source, fiber optics, or a video screen? How can light enhance your artwork's expressive content? • Can you redesign your project to use light and shadow more effectively? If so, how?
a
key questions LINE • Vertical, horizontal, diagonal, and curved lines all have unique strengths. What can each type contribute to your design? • What can line continuity or discontinuity contribute to your composition? • What happens when you dramatically increase or decrease the number of lines? • Can intersecting lines strengthen your design, both structurally and compositionally?
a
key questions PLANE • Consider the limitations of the material you are using. Can you cut, score, and fold it to create curving planes? • What are the structural and compositional advantages of curved or twisted planes versus flat planes? • What happens to your design when you pierce and slot together any or all of the planes?
a
key questions POINT • When is a single point most effective, and when is an array needed? • Should your points be evenly distributed in space, or unevenly distributed? • A focal point draws attention to a specific area or aspect in a composition. How might your composition benefit from use of a focal point?
a
key questions SPACE • What relationships between substance and space have you built into your design? • What would happen if you substantially increased or decreased the amount of space? For example, would 70 percent space and 30 percent mass strengthen or weaken your design? • Could space play a stronger conceptual role in your design?
a
key questions TIME • Is a "timeless" or a "timely" artwork more appropriate for the idea that you want to communicate? • What compositional choices can you use to increase timelessness? • How can actual, implied, or viewing time expand meaning, in your design?
a
key questions VOLUME AND MASS • How can you use planar source materials (such as bristol paper and cardboard) to create sturdy volumes? • What are the advantages of transparent versus opaque volumes? • When is a mass more expressive than a volume?
natural color
uses the existing color of an object or material
applied color
when the color of a material is changed by applying pigments to the surface or by altering the physical makeup of the media
