Imagen de OpenLibrary

Basic Visual Concepts and Principles : for artists, architects, and designers. / txt

Por: Colaborador(es): Idioma: Inglés United States : Mc Graw Hill, 1992Descripción: xv, 527 p. ill. ; 28 cmTipo de contenido:
  • text
Tipo de medio:
  • unmediaded
Tipo de soporte:
  • volume
ISBN:
  • 9780697006514
  • 0697006514
Tema(s): Clasificación CDD:
  • 701.20
Clasificación LoC:
  • N7430.5 W35 1992
Contenidos:
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 --
    Valoración media: 0.0 (0 votos)
Imagen de cubierta Tipo de ítem Biblioteca actual Biblioteca de origen Colección Ubicación en estantería Signatura topográfica Materiales especificados Info Vol URL Copia número Estado Notas Fecha de vencimiento Código de barras Reserva de ítems Prioridad de la cola de reserva de ejemplar Reservas para cursos
Libro Col. General CARIBET CARIBET Biblioteca Arquitectura Colección General CARIBET General N7430.5 W35 1992 (Navegar estantería) 1 Disponible 91000000041087
Total de reservas: 0

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 --

Previo
Volver a resultados
Siguiente
Cerrar
Compartir
logopucpr-y-vive

Contáctanos

¡Queremos saber de ti!

Tel. 787.841.2000 Ext. 1801

bibliotecavaldes@pucpr.edu

⁣Búscanos en las redes

© 2026 Desarrollado por Ignite Online • All Rights Reserved • Powered by Koha.