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3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
3 d 3 design principles
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3 d 3 design principles

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  • 1. VERSIMILITUDE NATURALISM STYLIZATION ABSTRACTION STYLE
  • 2. LOW RELIEF HIGH RELIEF FRONTAL IN THE ROUND STYLE
  • 3. ELEMENTS LINE .PLANE. VOLUME MASS. SPACE. TEXTURE LIGHT. COLOR PRINCIPLES UNITY & VARIETY BALANCE. SCALE PROPORTION. EMHASIS REPETITION & RHYTHM DESIGN
  • 4. IN MOST CASES A FORM ORIENTED HORIZONTALLY APPEARS STABILE AND IS “READ” AS LANDASCAPE. STABILITY AND DYNAMICS ORIENTATION
  • 5. A FORM POSITIONED VERTICALLY IS ALSO STABILE BUT IN TENSION. IT TENDS TO BE MORE DYNAMIC AND “READ” AS FIGURE, (IN IT’S GENERIC SENSE AS OPPOSED TO GROUND. STABILITY AND DYNAMICS ORIENTATION
  • 6. A FORM WHICH IS NOT PARALLEL TO ANY PLANE OF REFERENCE IS THE MOST DYNAMIC, IMPLYING INSTABLILTY, MOTION AND A HIGH DEGREE OF DIRECTIONALITY. STABILITY AND DYNAMICS ORIENTATION
  • 7. CONTACT WITH THE GROUND PLANE IS ONE OF THE PRIMARY DETERMINATES OF AN OBJECT’S DYNAMICS . GENERALLY LESS CONTACT MEANS GREATER TENSION OR DYNAMICS. STABILITY AND DYNAMICS CONTACT PLANE TO PLANE POINT TO PLANE LINE TO PLANE PENETRATE PROXIMATE
  • 8. STABILITY AND DYNAMICS CONTACT PLANE TO PLANE POINT TO PLANE LINE TO PLANE PENETRATE PROXIMATE POINT TO LINE LINE TO LINE POINT TO POINT
  • 9. SHAPE DYNAMICS ARE INFLUENCED BY: REGULARITY SYMMETRY ORIENTATION TYPE GEOMETRIC/BIOMORPHIC PLANER/VOLUMETRIC # OF ACUTE ANGLES STABILITY AND DYNAMICS SHAPE PLANE TO PLANE POINT TO PLANE LINE TO PLANE PENETRATE PROXIMATE 1 3 2 5 4 10 9 8 7 6
  • 10. BALANCE IS THE RESOLUTION OF FORCES RESULTING IN A STATE OF EQUALIBRIUM, OR THE HARMONIZATION OF COMPETING ASPECTS LEADING TO A STATE OF WHOLENESS, COMPLETENESS, OR PROPORTIONALITY. BALANCE
  • 11. BALANCED FORMS OFTEN EVIDENCE DYNAMIC STABILITY AND A RELATIVE HARMONIZATION OF UNITY AND VARIETY BALANCE UNITY AND VARIETY
  • 12. THERE ARE FOUR CATAGORIES OF BALANCE: PHYSICAL, VISUAL AND ENVIRONMENTAL(SYSTEMIC), AND CONCEPTUAL. BALANCE TYPES
  • 13. PHYSICAL BALANCE IS THE EQUILIBRIUM OF AN OBJECT’S FORM AND MATERIALS IN ACCORDANCE TO PHYSICAL LAWS. OBJECTS ARE SUBJECT TO FORCES OF GRAVITY AND STRESS (TORSION, COMPRESSION,TENSION AND SHEAR) DETERMINED BY FORM, SCALE, MATERIALS AND METHODS OF CONSTRUCTION. BALANCE PHYSICAL
  • 14. VISUAL BALANCE CONCERNS ONLY THE OUTWARD APPEARANCE OF A FORM. VISUAL BALANCE IS SUBJECT TO THE “SUBJECTIVE MOVEMENT” OF THE VIEWER AND THE ”VISUAL ATTRACTION” OF VARIOUS PARTS. BALANCE VISUAL
  • 15. SUBJECTIVE MOVEMENT IS REFERS TO WAYS IN WHICH VISION IS PROCESS. IT SCANS AND MOVES TO PERCIEV ITS OBJECTS. OUR ATTENTION IS ATTRACTED TO VARIOUS PARTS OF AN OBJECT INFLUENCED BY VALUE, SCALE, POSITION, COLOR, TEXTURE AND SHAPE. (SEE ALSO: DOMINANCE AND EMPHASIS) BALANCE VISUAL ATTRACTION
  • 16. ENVIRONMENTAL BALANCE REFERS TO THE EXCHANGE OF FORCES BETWEEN AN OBJECT AND ITS ENVIRONMENT. IT ALSO OFTEN USED TO REFER TO THE WAYS IN WHICH AN OBJECT VISUALLY HARMONIZES WITH ITS SURROUNDINGS. (SEE ALSO: ENTROPY, GRADATION, GROWTH, GOLDEN MEAN, E ≅ 1.6) BALANCE ENVIRONMENTAL
  • 17. CONCEPTUAL BALANCE REFERS TO WAYS IN WHICH WE COGNATIVELY ORGANIZE INFORMATION THAT TENDS TOWARDS COMPLETENESS, WHOLENESS, AND HARMONY. THESE INCLUDE THE GESTALT CONCEPTS OF PROXIMITY, SIMILARITY, CONTINUITY, CLOSURE, AND EQUILLIBRIUM. BALANCE CONCEPTUAL PROXIMITY SIMILARITY CONTINUITY
  • 18. CONCEPTUAL BALANCE REFERS TO WAYS IN WHICH WE COGNATIVELY ORGANIZE INFORMATION THAT TENDS TOWARDS COMPLETENESS, WHOLENESS, AND HARMONY. THESE INCLUDE THE GESTALT CONCEPTS OF PROXIMITY, SIMILARITY, CONTINUITY, CLOSURE, AND EQUILLIBRIUM. BALANCE CONCEPTUAL CLOSURE CLOSURE EQUILIBRIUM

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