### Present Remotely

Send the link below via email or IM

• Invited audience members will follow you as you navigate and present
• People invited to a presentation do not need a Prezi account
• This link expires 10 minutes after you close the presentation

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.

# todd ayoung, Materials/3 D Form, Pratt Institute

Todd Ayoung: 3 D Foundation Art and Design
by

## todd ayoung

on 29 August 2017

Report abuse

#### Transcript of todd ayoung, Materials/3 D Form, Pratt Institute

Homework
2) Basic Observations:
Softness, hardness, lightness, heaviness, tautness, slackness,rough, smooth,etc
1)
More Human Than Human:
Make a 3d object that uses the content
of the video (for example Hardwired, cultural)with the investigations of Rectilinear Static Volumes. Use any material, and keep it no smaller an 8" and no taller than 12".
3 d Pratt Institute
Halloween problem using
Rectilinear and curvilinear 3d articulations.
Object must compliment an area on your body. For example, head, arm, hand, feet, etc.
Make a 3 d object based on your reading of firs chapter, "Basic Observations" from
Experiencing Architecture by Steen Eiler Rasmussen, 1957.
This object can be made of any materials, but no bigger than 12 inches. This 3 d object should contrast materials the author writes about in essay. For example: Soft and hard, heavy and light, etc.

3 Dimensional Design
Pratt Institute, Brooklyn, NY
School: Art & Design
Fall and Spring semester

Todd Ayoung
Office hours: by appointment
http://www.toddayoung.com

Pratt Catalogue Description:
3-D 1 and semester

Introduces students to the materials, techniques and ideas that comprise the 3-D world of made things. Of course, natural forms are also considered. The basic abstract components---line, plane, mass and space---are examined and explored through assignments and research. A 3-D sensibility is progressively developed when the basic components are manipulated by the effective use of direction, balance, axis orientation, and relationship---in other words, organization
(Composition). The aesthetic consideration of materials and tools in this context adds to the expressive equation of 3-D study. The process may begin with concept, material, or observation; it continues by way of lectures, demonstrations, critical analysis and class discussions until project is crafted to completion. FDC-158 is a continuation of this course of study.

Instructor's Philosophy of 3-D:

3-D space embraces our very existence as human beings, as objects interacting with other objects, both animate and inanimate. As subjective beings, humans are personally redefining, re-contextualizing, and re-figuring the environment around them. As designers and artists, we measure out, mark out the length, breath, and thickness of our surroundings, intuitively, as well as, through technological mediation.
Technology is a tool (from a twig to a computer) that combines experience, and information, allowing the artist/designer to form meaningful sustainable engagements, with their world. This engagement enhances our ability to redirect the "furniture" of our surroundings, opening new paths with each intentional encounter. This encounter is a gathering of a social, political and environmental worldview of whom, and what we want life to be.

Students will learn a vocabulary in 3-D art and design, specifically as developed by Rowena Reed and Cheryl Akner-Koler. Students will also build on these studies in basic abstract geometry, with further studies in basic concrete geometry, as developed by James Gibson in his ecological approach to visual perception (medium, structure, surface). Along with studio experimentation and homework assignments, we will also have critiques, readings, short writing responses, field trips and videos.

Student Learning Objectives 1st and 2nd semester:

Foundation:

Rectilinear Volumes
Curvilinear volumes
Rectilinear/Curvilinear
Fragments
Planar Constructions
Lines in Space

Construction
Convexity
Concavity
Medium, Structure, Surface

Materials needed to begin:
Field hard cover sketch Pad (9" X 12"), Sanford design ebony pencils (4), White eraser, Single sided blades (2), Medium charcoal sticks (2), 12” X 12” X 1/8” (1/4) clear plexi-glass (3), retractable utility knife, clay tools (optional).

Partial 3-D class source material:

The Story of Stuff by Annie Leonard (20 minute video):
Experiencing Architecture by Steen Eiler Rasmussen
Sustainable Education: Re-visionable learning and Change by Stephen Sterling
The Green Imperative: Natural Design for the Real World By Victor Papanek
Stereo Sue: Why two eyes are better than one by Oliver Sacks
Elements of Design: Rowena Reed Kostellow and the structure of visual relationships by Gail Greet Hannah
Three-Dimensional Visual Analysis by Cheryl Akner-Koler
Dimensional Color by Lois Swirnoff
Ecological Approach to Visual Perception by James J. Gibson
Experiments in Form by Peter Pearce and Susan Pearce

Syllabus
rectilinear static volumes: wire structure with
yarn, twine, etc planes
Foundation 3D learning targets
The Scale of the body project,
using a percentage of wood joints (O,U,L) and
Mechanical joints
Rectilinear Static Volumes
Curvilinear Volumes
Combining Rectilinear with Curvilinear Volumes
Lines In Space
Planar Constructions
3 piece plaster molds
rectilinear volumes with lines in space
the shoe is a built enviroment for your foot
Problem using lines in space with planes
Surface texture and structure
lamp problem in Sketch Up
lamp problem using planes
Bibliography:
Three-Dimensional Visual Visual Analysis by Cheryl Akner-Koler
The Elements of Design: Rowena Kostellow and The Structure of Visual Relationships by Gail Greet Hannah
Experiencing Architecture by Steen Eller Rasmussen
The Eyes of the Skin: Architecture and the Senses by Juhani Pallasma
An Ecological Approach to Visual Perception by James J. Gibson
The Meme Machine by Susan Blackmore
Vibrant Matter: a political ecology of things by Jane Bennett
Dimensional Color by Lois Swirnoff

Other student projects
Cubism, Bauhaus & Constructivism...
Picasso, Ilse Fehling, Naum Gabo, El Lissitzky....
Sculpture, installation, performance, cantilever, body sculpture, re-direct, etc
Emergent Causalities:
Architecture+Body+Fashion
internet research examples of wood fashion:
Pratt 3d examples:
Form Wheel
Pages 1-4
Full transcript