Basic Visual Concepts and Principles : for artists, architects, and designers. / txt
- xv, 527 p. ill. ; 28 cm. book
Includes index.
Includes bibliographical references.
About the Authors viii -- Preface ix -- Acknowledgments x -- To the Instructor: Developing a Structure and Terminology for Basic Visual Studies xi -- Chapter 1 Historical Influences on Visual Education 1 -- Introduction 2 -- Historical Influences 2 -- Art, Architecture, and Design Education 3 -- Contemporary Trends in Design and Architecture Education 5 -- References and Resources 6 -- Chapter 2 The Problem Solving Process and Form Generation Model 7 -- The Problem-Solving Process 8 -- The Form Generation Process 9 -- Form Generation and Visual Ordering 9 -- Evolution of the Problem-Solving Process / Form Generation Model 10 -- Using and Interpreting the Problem-Solving Process / Form Generation Model 10 -- Intent of the Model 10 -- Model Structure 11 -- Model Subject Matter 11 -- References and Resources 12 -- Chapter 3 -- Drawing as a Means of Communicating 13 -- Chapter Vocabulary 15 -- Introduction to Drawing 15 -- Intent of Drawing 15 -- Types of Drawing 16 -- Introduction to Drawing Exercises 17 -- Beginning to Draw 17 -- Hand Positions 17 -- Pencils, Positions, and Graphic Techniques 17 -- Practice Exercise 3.1 Learning to Use Pencils 18 -- Pens, Positions, and Graphic Techniques 18 -- Practice Exercise 3.2 Learning to Use Pens 18 -- Markers, Positions, and Graphic Techniques 21 -- Practice Exercise 3.3 Learning to Use Markers 21 -- Drafting Tools, Technical Pens, and Materials 22 -- Practice Exercise 3.4 Line and Point Graphic Techniques 22 -- Practice Exercise 3.5 Inking 23 -- Practice Exercise 3.6 Using Graphic Tape 23 -- Practice Exercise 3.7 Using Self-Adhesive Film 24 -- Practice Exercise 3.8 Using Designer’s Gouache 24 -- Practice Exercise 3.9 Using Colored Paper 25 -- Beginning Approaches to Drawing 26 -- What Are the Characteristics of a Good or Interesting Drawing? 26 -- How Does One Begin? 26 -- Visually Representing an Object 26 -- Four Ways of Constructing and Visually Representing an Object 27 -- Practice Exercise 3.10 Four Basic Drawing Constructions 29 -- Practice Exercise 3.11 Construction and Application of Surface Techniques 30 -- Sketching 31 -- Practice Exercise 3.12 Quick Sketching 31 -- Practice Exercise 3.13 Self-Portraits Through Quick Sketching 31 -- Practice Exercise 3.14 A Graphic Study of the Human Head 34 -- Drawing a Visual Set of Objects 37 -- Practice Exercise 3.15 Drawing Visual Sets 37 -- Practice Exercise 3.16 Representing an Object with Minimum Line 37 -- Introduction to Perceiving, Analyzing, Describing, and Drawing Natural Objects 38 -- Practice Exercise 3.17 Writing a Visual Description to Assist in Drawing an Object 38 -- Practice Exercise 3.18 Creating Visual Variations of an Object 39 -- Practice Exercise 3.19 Interpretive Variations of a Natural Object 40 -- Practice Exercise 3.20 Creating a Visual Story About an Object 44 -- Practice Exercise 3.21 Visual Interpretations of an Object 44 -- Practice Exercise 3.22 Abstracting an Object 45 -- Denoting Surface Characteristics of Objects 46 -- Tone and Texture in Drawing 46 -- Practice Exercise 3.23 Learning to Utilize Tone and Texture 47 -- Using Drawing Techniques to Create Representative Surface Characteristics of Objects 48 -- Practice Exercise 3.24 Creating Analytical Drawings 48 -- Practice Exercise 3.25 Creating Random Drawings 51 -- Practice Exercise 3.26 Fantasy Drawing with a Typographic Form 53 -- References and Resources 54 -- Chapter 4 Formal Drawing Systems 55 -- Chapter Vocabulary 57 -- Introduction to Formal Drawing 57 -- Approaches to Pictorial Drawing and Sketching 57 -- Orthographic Projection 60 -- Practice Exercise 4.1 Creating a Three Dimensional Form Using an Orthogonal Grid 60 -- Axonometric Projections 62 -- Trimetric Projection 62 -- Isometric Projection 62 -- Dimetric Projection 63 -- Trimetric Projection 63 -- Oblique Projections 64 -- Triloblique 64 -- Elevation and Plan Obliques 65 -- Perspective 66 -- Components of the Perspective Drawing 66 -- One-Point Perspective 68 -- Two- and Three-Point Perspective 69 -- Constructing a Two-Point Perspective 70 -- Orientation of an Object in Perspective 71 -- Computer-Aided Perspective Drawing 72 -- Practice Exercise 4.2 Determining and Drawing an Object’s Position and Orientation in Perspective 72 -- Communicating Through Sketching 75 -- Drawings for Presentation 75 -- Object Orientation 75 -- Practice Exercise 4.3 Exploring Object Orientation 75 -- Object Analysis Through Sketching 76 -- Practice Exercise 4.4 Analyze an Object Through Sketching 76 -- References and Resources 77 -- Chapter 5 The Visual Elements of Form: Point, Line, Plane, and Shape 79 -- Chapter Vocabulary 81 -- Introduction to the Visual Elements of Form 82 -- Theoretical Model of Form Generation 82 -- Introduction to Point 84 -- Point as a Visible Mark or Representational Element 85 -- Point Creating Line and Direction 85 -- Point Creating Volume and Shape 86 -- Point Describing and Dividing Space 87 -- Point Creating a Visual Plan 87 -- Point Creating Shape 88 -- Point Creating Movement and Energy 89 -- Point Creating Pattern 89 -- Point Creating the Illusion of Depth 90 -- Point Creating Tone and Visual Texture 90 -- Practice Exercise 5.1 -- Using Point to Create Tone 91 -- Practice Exercise 5.2 -- Point Creating Tone and Dimension 91 -- Point Implied in the Environment 93 -- Introduction to Line 93 -- Characteristics of Visible Line 95 -- Practice Exercise 5.3 Line Compositions 96 -- Line Dividing Space 96 -- Line and Direction 97 -- Line Describing Shape 97 -- Practice Exercise 5.4 Using Line to Describe Shape 98 -- Practice Exercise 5.5 Using Continuous Line or Contour Line to Describe Shape 98 -- Line Representing Surface Characteristics 99 -- Line Forming Pattern 99 -- Line as a Notation System 100 -- Lines Formed by Script and Typographic Letterforms 100 -- Line as a Visual Means of Expression 101 -- Line Creating the Illusion of Dimension, Depth, and Movement 101 -- Line Creating Tone 102 -- Line Implied in the Natural Environment 103 -- Line Implied in Man-made Products, Forms, and Environments 103 -- Introduction to Plane 104 -- Plane and Shape 105 -- Plane and Tone 106 -- Practice Exercise 5.6 -- Using Point, Line, and Plane to Create Tone 106 -- Practice Exercise 5.7 -- Designing a Holiday Shopping Bag 108 -- Polygons 110 -- Naming Polygons 111 -- Regular and Irregular Polygons 112 -- Constructing Regular Polygons 112 -- Subdividing Regular Polygons 113 -- Polygons, Shapes, and Symmetry 114 -- Subdividing Regular Polygons into Smaller, Similar Shapes 115 -- Tessellations: Grouping Polygons 116 -- Practice Exercise 5.8 Creating Tessellation Combinations 117 -- Practice Exercise 5.9 Designing a Woven Puzzle Based on a Tessellation 118 -- Practice Exercise 5.10 Designing an Interlocking Puzzle Using Polygons 119 -- Practice Exercise 5.11 Creating Tessellations Using Transitional Tiling Patterns 120 -- Surface Characteristics of Planes 121 -- Dividing Images and Objects into Achromatic Planes 122 -- Practice Exercise 5.12 Dividing an Image into Value Planes 122 -- Transforming Shapes 124 -- Shape Generation Using the Transformation Process 125 -- Practice Exercise 5.13 Creating Shapes Using the Transformation Process 125 -- Practice Exercise 5.14 Shape Transformation 126 -- Practice Exercise 5.15 Plane to Shape Transformation 127 -- Two Dimensional Planes Transformed into Different Configurations 130 -- Practice Exercise 5.16 Identifying Planar Forms in the Environment 131 -- Practice Exercise 5.17 Development of Free-standing Planar Configurations 131 -- Planes Defining Architectural Structures and Their Interior Subdivisions 132 -- Planar Configurations for Structural Support 133 -- Planes and Depth 134 -- Practice Exercise 5.18 Planes and the Illusion of Depth 135 -- Planes, Depth, and Movement 135 -- References and Resources 136 -- Chapter 6 Volume and Structure 137 -- Chapter Vocabulary 139 -- Introduction to Volume and Structure 140 -- Representing Volume 140 -- Volume in the Environment 141 -- Volumetric Forms 142 -- Representing Volume on a Two Dimensional Format 142 -- Volume and Shape 143 -- Practice Exercise 6.1 Volume and Visual Associations 143 -- Relationships Between Two and Three Dimensional Shapes / Forms 144 -- Polyhedra 146 -- Prisms and Antiprisms 148 -- Practice Exercise 6.2 Folded Models of Regular Prisms, Semiregular Prisms, and Antiprisms 149 -- Practice Exercise 6.3 Designing a Paper Sandal 150 -- Practice Exercise 6.4 Designing an Eating Utensil Made of Paper 152 -- Practice Exercise 6.5 Using Wire as a Representative of Line to Explore Volumetric Forms 153 -- Linear Configurations and Their Structural Strength 154 -- Practice Exercise 6.6 Linear Bridge Configurations and Their Structural Attributes 154 -- Practice Exercise 6.7 Columns and Their Structural Attributes 155 -- Using Linear Configurations to Produce Volumetric Forms 156 -- Practice Exercise 6.8 Designing and Constructing a Double Layer Linear Space Frame 157 -- Practice Exercise 6.9 Stabilizing a Linear Prismatic Frame with Cable and Turnbuckles 158 -- Practice Exercise 6.10 Linear Tension Support Structures 159 -- Practice Exercise 6.11 Designing and Constructing a Linear Tent Structure 160 -- Volumetric Transformations Using Planes 161 -- Practice Exercise 6.12 Creating Form Transformations Using Serial Planes 161 -- Practice Exercise 6.13 Five Step Volumetric Transformation 166 -- Practice Exercise 6.14 Three Dimensional Form Metamorphosis 167 -- Practice Exercise 6.15 Using Polygons to Form a Slotted Volumetric Structure 168 -- Folded Paper Structures 169 -- Practice Exercise 6.16 Studying Regular and Semiregular Tessellation Patterns in Folded Structures 169 -- Practice Exercise 6.17 Hollow Paper Cylindrical Columns 170 -- Practice Exercise 6.18 Constructing an Information Column Using Polyhedra and Pattern Transformation 171 -- Plane to Volume 172 -- Practice Exercise 6.19 Polygon Planar and Dome Configuration 172 -- Practice Exercise 6.20 Modular Play Structure 173 -- Practice Exercise 6.21 Designing a Minimal Enclosure Environment 174 -- Practice Exercise 6.22 Designing a Minimal Seating Structure from Corrugated Board 176 -- Practice Exercise 6.23 Designing a Head Protector 180 -- Practice Exercise 6.24 Designing a Folded or Pop Up Volume 182 -- Practice Exercise 6.25 Designing a Three Dimensional Promotional Package 183 -- Practice Exercise 6.26 Close Packing Forms 185 -- Practice Exercise 6.27 Designing a Protective Package for a Flood Lamp Bulb 186 -- Practice Exercise 6.28 Designing and Constructing a Corrugated Cardboard Bridge Structure 188 -- Practice Exercise 6.29 Designing and Constructing a Sleeping Support Structure 190 -- References and Resources 192 -- Chapter 7 The Visual and Physical Attributes of Form 193 -- Chapter Vocabulary 195 -- What Are the Visual and Physical Attributes of Form? 195 -- Introduction to Tone or Value 195 -- Practice Exercise 7.1 Using Tone in Drawing 197 -- Practice Exercise 7.2 Programmed Tone Study Using a Grid Structure 198 -- Practice Exercise 7.3 Using a Grid Structure to Distort a Programmed Tone Drawing 200 -- Introduction to Texture 202 -- Types of Texture 202 -- Observing Texture Close Up or at a Distance 202 -- Texture in the Environment 204 -- Practice Exercise 7.4 Observing Texture in the Environment 204 -- Representing Texture Through Drawing 205 -- Practice Exercise 7.5 Representing Texture Through Drawing 205 -- Practice Exercise 7.6 Creating Tactile Textures 205 -- Practice Exercise 7.7 Transferring Surface Textures from an Object Through Rubbings 206 -- Practice Exercise 7.8 Identifying Objects by Their Surface Texture 207 -- Practice Exercise 7.9 Drawing Surface Textures Using Tone 208 -- Practice Exercise 7.10 Exploring Surface Textures on Three Dimensional Forms 210 -- Introduction to Size, Scale, Dimension, and Proportion as Attributes of Form 212 -- Size 212 -- Practice Exercise 7.11 Size Contrast 214 -- Size 215 -- Scale 215 -- Dimension 217 -- Proportion 220 -- Proportion in Art or Utilitarian Objects 221 -- Proportion in Architecture 222 -- Proportion in Roman Letterforms 224 -- Proportion in Paper and Print 226 -- Practice Exercise 7.12 Altering the Proportions of an Object 228 -- Human Proportion 230 -- The Modulor by Le Corbusier 232 -- Anthropometrics 234 -- Human Dimensions 234 -- Practice Exercise 7.13 Understanding Anthropometrics 235 -- References and Resources 236 -- Chapter 8 Color 237 -- Chapter Vocabulary 239 -- Introduction to Color 239 -- Light and Color 240 -- The Color Spectrum 240 -- Light Sources and Color 241 -- The Dimensions of Color 242 -- Historical Concepts of Seeing Light and Color 244 -- Color Notation Systems and Theories 245 -- Moses Harris 246 -- Johann Wolfgang von Goethe 247 -- Philip Otto Runge 247 -- Michel-Eugene Chevreul 248 -- James Clerk Maxwell 248 -- Wilhelm von Bezold 248 -- Ewald Hering 249 -- Ogden Rood 249 -- A. Höfler 249 -- Albert H. Munsell 250 -- Wilhelm Ostwald 250 -- Michael Jacobs 250 -- Paul Klee 251 -- C.I.E. Chromaticity Chart 251 -- Faber Birren 251 -- Johannes Itten 252 -- The Munsell Color Sphere 252 -- Practice Exercise 8.1 Munsell Student Color Chart Study 254 -- The Ostwald System of Color Notation 254 -- Achromatic Colors 255 -- Chromatic Colors 255 -- Color Pigments and Products 258 -- Winsor & Newton Designers’ Gouache 258 -- The PANTONE Library of Color 258 -- Color Mixing 260 -- Additive Mixing 260 -- Subtractive Mixing 261 -- Optical Color Mixing 262 -- Practice Exercise 8.2 Visual Mixing of Color 263 -- Practice Exercise 8.3 Visual Color Mixing Compositions 263 -- Subtractive Color Mixing and Color Circles 265 -- Practice Exercise 8.4 Constructing a Color Circle 266 -- Color Harmonies and Major Types of Hue Relationships 267 -- Neutral or Achromatic Color 267 -- Practice Exercise 8.5 Mixing Achromatic Colors 267 -- Practice Exercise 8.6 Formal Compositions in Achromatic Colors 268 -- Monochromatic Harmony 269 -- Practice Exercise 8.7 Mixing Tints and Shades of a Single Hue 269 -- Practice Exercise 8.8 Monochromatic Compositions 270 -- Selecting Analogous Harmonies 270 -- Practice Exercise 8.9 Color Mixing Applied to a Three Dimensional Form 272 -- Complementary Color Harmonies 273 -- Practice Exercise 8.10 Creating Color Vibration Using Complementary Hues 274 -- Selecting Split Complementary Hues 275 -- Afterimage Phenomenon 276 -- Triad Harmony 278 -- Tetrad Harmony 278 -- Figure/Ground and Color Relationships 279 -- Size, Color, and Luminosity 279 -- Simultaneous Color Contrast 281 -- Simultaneous Contrast with Value 281 -- Simultaneous Contrast with Saturation 281 -- Simultaneous Contrast with Hue 281 -- Color as a Depth Cue 283 -- Aerial Perspective 283 -- Color Balance and Proportion 284 -- Practice Exercise 8.11 Color Balance and Proportion 285 -- Psychology of Color 285 -- Practice Exercise 8.12 Color Association 286 -- Practice Exercise 8.13 Color Association and Music 286 -- Two-Dimensional Color Studies 287 -- Practice Exercise 8.14 Two-Dimensional Color Study 287 -- Practice Exercise 8.15 Color Relief Composition 288 -- Practice Exercise 8.16 Color Related to a Free Standing Model Using a Proportional System 290 -- Three-Dimensional Color Studies 292 -- Practice Exercise 8.17 Volumetric Paper Forms Emphasizing Color Harmonies and Symmetry Patterns 292 -- Practice Exercise 8.18 Three-Dimensional Color Study Using a Proportional System 294 -- Practice Exercise 8.19 Three-Dimensional Color and Shape Transformations 296 -- Practice Exercise 8.20 Designing a Color Cylinder 298 -- Practice Exercise 8.21 Designing a Play Structure for Children and the Application of Color 300 -- References and Resources 301 -- Chapter 9 Space, Depth, and Distance 303 -- Chapter Vocabulary 305 -- Introduction to Space, Depth, and Distance 305 -- Depth Perception 307 -- Three-Dimensional Space 307 -- Depth Perception and Constancy 307 -- Size Constancy 308 -- Shape Constancy 309 -- Brightness Constancy 310 -- Color Constancy 310 -- Binocular Depth Cues 310 -- Muscular Depth Cues 310 -- Parallax Depth Cues 311 -- Head-Movement Parallax 312 -- Movement Perspective or Parallax 312 -- Two-Dimensional Space and the Picture Plane 312 -- Monocular Depth Cues 312 -- Size 312 -- Position 316 -- Overlap 317 -- Attached and Cast Shadows 318 -- Tone or Value as Depth Cues 319 -- Linear Perspective 322 -- One-Point Perspective 324 -- Gradients 325 -- Density Gradient 327 -- Detail Gradient 327 -- Color Gradient 328 -- Texture and Pattern Gradient 328 -- Other Depth Cues 328 -- Transparency 328 -- Blurring 329 -- Filled Versus Unfilled Space 330 -- Practice Exercise 9.1 Identifying Depth Cues 330 -- References and Resources 331 -- Chapter 10 Perception of Figure and Form 333 -- Chapter Vocabulary 335 -- Introduction to Perception of Figure and Form 335 -- Perceiving Shapes and Forms 335 -- Shape Perception 336 -- Gestalt Psychology and Visual Perception 336 -- The Law of Prägnanz 337 -- Shape Identity 338 -- Simple Versus Complex Shapes 338 -- Maintaining Regularity and Symmetry in Simple Shapes 339 -- Law of Closure 341 -- Practice Exercise 10.1 Understanding the Law of Closure 341 -- Practice Exercise 10.2 The Role of Association in Shape Perception of Letter Symbols and Type Styles 343 -- Creating New Shape Configurations 344 -- Practice Exercise 10.3 Combining Shapes to Create Figures 345 -- Two and Three Dimensional Forms and Their Orientation on the Picture Plane 346 -- Geometric Illusions 347 -- Ambiguous Figures 349 -- Ambiguous Patterns 350 -- Perceiving Three-Dimensional Figures 352 -- Ambiguous Figures in Three Dimensions 353 -- Impossible Figures 354 -- Practice Exercise 10.4 Developing Impossible Figure Illusions 355 -- Distinguishing Figure and Ground 356 -- Practice Exercise 10.5 Size and Its Effect on Figure and Ground Relationships 358 -- Embedded Figures and Camouflage 359 -- Practice Exercise 10.6 Hidden Figures and Their Shape Combinations 360 -- Brightness Contrast in Figure / Ground Relationships 361 -- Brightness Contrast in Just Noticeable Differences (JND) in Figure / Ground Compositions 362 -- Figure / Ground Reversal 363 -- Figure / Ground Reversals (Pattern Fluctuation) 364 -- Types of Patterns 366 -- Overlapping Figures 367 -- Practice Exercise 10.7 Overlapping Figures Using Figure / Ground Reversal 368 -- Moiré Patterns 369 -- References and Resources 370 -- Chapter 11 Perceptual Principles of Organization 371 -- Chapter Vocabulary 373 -- Introduction to Perceptual Principles of Organization 374 -- Overview of the Design Process Using Communication Theory and Practice 374 -- Theories and Principles That Assist in Visual Message and Form Generation 375 -- Communication Theory 375 -- Types of Models 375 -- Berlo's Model of Human Communication 377 -- Structuring a Visual Message 378 -- Human Communication, Messages, and Codes 380 -- Use of Semiotic Theory in Visual Sign Making 382 -- Developing Signs and Symbols 385 -- Pictographs 387 -- Planning, Analyzing, and Organizing a Message Within a Visual Field 390 -- Types of Two Dimensional Formats 392 -- Creating a Visual Message Within a Format 397 -- Organizing the Two-Dimensional Format 397 -- Grids 397 -- Dividing the Format 398 -- Practice Exercise 11.1 Grids Used in Visual Organization 400 -- Positioning Compositional Elements Within the Two Dimensional Format 402 -- Practice Exercise 11.2 Exploring Format and Compositional Elements in Two Dimensions 403 -- Compositional Study Relating an Object to Various Formats 405 -- Introduction to Aesthetic Principles in Visual Organization 409 -- Properties of Good Figures / Forms 409 -- Visual Qualities of a Message 409 -- Dominance and Emphasis 409 -- Placement of Groups of Compositional Elements Within a Format 409 -- Types of Groupings According to Compositional Balance 410 -- Compositional Balance 412 -- Types of Balance 412 -- Practice Exercise 11.3 Exploring Balance Using One Compositional Element 413 -- Practice Exercise 11.4 Understanding Balance Through Grouping and Contrasting Stable and Unstable Figures 414 -- Visual Contrast 415 -- Practice Exercise 11.5 Using Contrast in Creating a Visual Message 415 -- Grouping Elements Within a Format 418 -- Introduction to Gestalt Grouping Laws 420 -- Similarity 420 -- Proximity 421 -- Closure 422 -- Good Continuation 422 -- Visual Associations 422 -- Practice Exercise 11.6 Using Gestalt Perceptual Organizational Principles in Compositions 422 -- Practice Exercise 11.7 Package Graphics 424 -- Practice Exercise 11.8 Design a Poster 426 -- Practice Exercise 11.9 Visual Organization and Form and Pattern Correlations 427 -- Practice Exercise 11.10 Developing Holiday Symbols and Posters Using Simple Geometric Shapes 428 -- Practice Exercise 11.11 Three Dimensional Game Using Visual Organization Principles 430 -- References and Resources 431 -- Chapter 12 Symmetry and Dynamic Symmetry 433 -- Chapter Vocabulary 435 -- Introduction to the Organization of Form 435 -- Prescriptive Principles of Visual Organization 436 -- Introduction to Spatial Organization 436 -- Centralized Organizations 437 -- Linear Organizations 438 -- Radial Organizations 439 -- Clustered Organizations 440 -- Grid / Lattice Organization 441 -- Introduction to Pattern 442 -- Practice Exercise 12.1 Creating Pattern 443 -- Introduction to Symmetry 445 -- Historical Development of Symmetry Studies 445 -- Symmetry Theory 446 -- Symmetry Terminology 446 -- Symmetry Morphology 447 -- Symmetry in the Environment 448 -- Practice Exercise 12.2 Symmetry and Asymmetry in Man 449 -- Selecting a Figure for Symmetry Studies 450 -- Isometric Symmetry Operations 451 -- Identity 451 -- Translation 452 -- Rotation 453 -- Reflection 454 -- Glide Reflection 456 -- Practice Exercise 12.3: Applying Symmetry 457 -- Application of Symmetry Operations in Advertising and Graphic Design 458 -- Isometric Symmetry Operations in Combination 460 -- Translation / Rotation 460 -- Rotation / Reflection 461 -- Translation / Glide Reflection 462 -- Glide Reflection / Rotation 463 -- Rotation / Reflection 463 -- Nonisometric Symmetry Operations 464 -- Projective Operations 465 -- Dilative Operation 467 -- Topological Operations 468 -- Symmetry Figures in Three Dimensions 469 -- Translation of Three Dimensional Figures 469 -- Rotation Translation of Three Dimensional Figures 470 -- Lattices as an Organizational Device 470 -- Structure and Terminology 470 -- Square Lattice 471 -- Square Diamond Lattice 472 -- Rhombus Lattice 473 -- Rectangular Lattice 474 -- Triangular Lattice 475 -- Diamond Lattice 476 -- Hexagonal Lattice 477 -- Introduction to Dynamic Symmetry 478 -- Ratio 478 -- Proportion 478 -- Progression 479 -- Root Rectangles 480 -- Practice Exercise 12.3: Constructing a Pentagon from a Root Five Rectangle 486 -- Golden Mean 487 -- Construction of the Nautilus Shell 488 -- Practice Exercise 12.4 Golden Mean Rectangle Construction and Subdivision 488 -- Practice Exercise 12.5 Constructing Golden Mean Proportions 489 -- Golden Mean Proportions in Architecture 490 -- Golden Mean Proportions and Man 491 -- The Fibonacci Ratio 491 -- Practice Exercise 12.6 Design a Game to Illustrate the Fibonacci Sequence Ratio 493 -- References and Resources 494 -- Appendix 495 -- Approaches to Creating Symmetry Compositions 496 -- Nonisometric / Isometric Transformation Compositions 497 -- Practice Exercise A.1 The Process for Generating Symmetry Compositions Using Shape Transformations 499 -- Dynamic Symmetry Transformation Compositions 502 -- Using the Golden Mean Construction 504 -- Additive / Subtractive Symmetry Compositions 506 -- Credits 515 -- Index 517 --