Exercise Three: Rectilinear + Curvilinear

“In this problem we introduce the notion of group movements. Be aware of inherent, comparative, and overall proportions.”

Make a variety of rectilinear and curvilinear volumes in clay. Combine five to seven rectilinear and curvilinear forms of your choosing in a relationship that has dynamic balance. Apply the principles you learned in the first two exercises.

Establish dominant, subdominant, and subordinate relationships. Be aware of inherent, comparative, and overall proportions.

Every form in your composition must have its position in space, but it must work together in rhythm with the others. The most important consideration here is the balance of directional forces.

“The beauty of this process is that you may not apply these principles directly when doing a project like a car interior or a lamp. But you bring to that process a sensitivity to composition that helps you make the right choices.” — Gerald Gulotta

Establish visual continuity by positioning the axes. Be aware that dominant, subdominant, and subordinate refer to the axes’ movements and the forms’ mass and volume. The forms can physically touch one another but should be visually separate. Do not make a long string of things. Create a composition in which you feel one movement stops, and another complements it.

The sum of all the forces and movements in your composition should “add up.” Look at your work from all points of view—do not just look at the good view. Look at the bad view and make what is not working work.

Forward
The principles of study that Rowena helped formulate were embodied in a foundation curriculum that became the primary, universal first year of study for all Pratt Institute art and design students.
On Sketching
For those of you who have never worked in three dimensions, it provides an introduction to the three-dimensional world and to that complex and exciting set of relationships that will challenge you for the rest of your life.
Exercise One: Rectilinear
“At first working with 3-dimensional forms in this way is difficult. But soon you will begin to speak this language. You really have to make these beautiful. That sounds pretentious. How can you make three blocks beautiful? But I know that you can.”
Exercise Two: Curvilinear
“The second experience involves the organization of curvilinear volumes in a dynamic relationship. In addition to mass, proportion and character, you will now deal with the additional challenge of the diagonal axis. We will work with the following curvilinear solids.”
Exercise Four: Fragments
“The objective of this exercise is to choose a solid, cut it apart and reorganize the cut fragments in a new composition that is more beautiful than the original form from which it was derived.”
Exercise Five: Planar Construction
“The objective of this exercise is to gain an understanding of the characteristics of planes and how they relate to each other in space. In this problem you are asked to create a beautiful construction using a variety of planes.”
Exercise Six: Lines In Space
“Lines have many uses in design. They can be used as the axes of solid forms, to describe planes or volumes, and to delineate.”
Exercise Seven: Construction
“The abstract experience based on construction involves the design and organization of contrasting forms, the new experience of grouping forms to create related movements, and a deeper understanding of the balance of directional forces and of tensional positions in space.”
Exercise Eight: Convexity
“The exercises in convexity and concavity are based on organic forms. They present the opportunity to explore the properties of a single, specific form. Unlike the dramatic quality of the construction exercise, the convexity and concavity exercises deal with subtle gesture.”
Exercise Nine: Concavity
“In the convexity exercise you were already learning about concavity — about how negative volume affects form. Now, the focus will be on concavity.”
Exercise Ten: Space Analysis
“The study of planes in space is all about relationships — about how the planes look in relation to each other. The answer is not yes or no — it’s yes in relation to something else or no in relation to something else.”
Exercise Eleven: Space Design
“This project follows the abstract exercises in space analysis and cannot be successfully completed until the student has mastered those exercises.”
Exercise Twelve: Development
“These are examples of more advanced work in which students continue to explore abstract forms but also begin to apply some practical criteria to their work.”