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ebook download (eBook PDF) Elements and Principles of 4D Art and Design by Ellen Mueller all chapter
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••
CONTENTS VII
Space ....................................................................... 96
The Base Plane .................................................. 96
The Ru Ie of Thirds ............................................... 99
Positive and Negative Space ............................. 100
Interview: Joelle Dietrick................................... 101
Using Sound to Define Space .......... ................... 102
Using Light to Define Space ............................... 103
Color...................................................................... 104
Primary and Secondary Colors ............... ............ 105
White Light .. . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Relative Color.................................................. 108
Color Schemes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . .. . 109
Interview: Rachel Maclean .............................. 110
Changing Color over Time .............. .................... 112
Contrast.................................................................. 133
Using Light and Shadow in Your Work ... ... ..... ... .... 185
Dynamic Lighting .. ...... .. ...... .. ...... ... ..... ... ..... ... .... 186
Three-Point Lighti ng ..... ... ..... ... ..... ... ..... ... ...... .. .... 186
Movement............................................................... 188
Interview: Sara Holwerda ... ...... ... ..... ... ..... ... ... 190
Interview: Channel Two .... ... ..... ... ..... ... ..... ... .... 192
Gestures and Isolations ....... .. ...... ... ..... ... ..... ... .... 193
Interview: Sarah Johnson ... ....... ... ..... ... ..... ... .... 195
Movement in Fi lm and Video .. ...... ... ..... ... ..... ... .... 196
Summary .... ..... .. ... ........... .......... .. ...... ..... .. ... ........... 204
Chapter 6 Principles of 4D Art and Design ... .. .. ... . ... .. ... . ... .. .. 209
Participant-A rtists . ..... ... ...... .. ...... ... ..... ... ..... ... ..... 231
Interview: Ed Fornieles .... .. ...... ... ..... ... ..... ... ..... 231
Interview: Craig D. G iffen .. ...... ... ..... ... ..... ... .... 233
Categories of Interactivity ... .. ...... ... ..... ... ..... ... .... 233
Interview: Duane McDiarmid .... ... ..... ... ..... ... .... 235
Interview: Mary M a tting ly .. ...... .. ...... .. ...... ... .... 236
Interview: Al icia Eggert .. ... ...... .. ...... .. ...... ... .... 238
Levels of Interactivity .. ... ...... .. ...... ... ..... ... ..... ... .... 24 0
Appen dix ... . ... .. ... . ... .. ... . ... .. .. .. ... . ... .. ... .... .. ... . .. 273
G lossary .... ... ..... ... ..... ... ...... .. ...... ... ..... ... ..... ... .... 283
Add itional Resou rces .... ... ...... .. ...... ... ..... ... ..... ... .... 295
Notes ... ..... ... ..... ... ...... .. ...... .. ...... ... ..... ... ..... ... .... 299
Index ... ...... ... ..... ... ..... ... ..... ... ...... .. ...... .. ...... ... .... 303
Fig. 5-10 Illustration of a moment from from the video game Shadow of the
Colossus (2005)
Fig. 5-11 Diagram of Anna Teresa De Keersmaeker's Violin Phase: Four
Movements of the Music of Steve Reich (1982)
Fig. 5-12 Maya Deren, Meshes of the Afternoon (1943)
Fig. 5-13 Illustration of lighting plan for Francis Picabia's ballet Re/ache (1924
Fig. 5-14 Three-point lighting
Fig. 5-15 Sara Holwerda, Chair Dance II (2012)
Fig. 5-16 Channel TWo, FIND EACH OTHER. Begin There (2012)
Fig. 5-17 Sarah Johnson, Ordinary Batman (2012- ongoing)
Fig. 5-18 Robert Wilson, Einstein on the Beach (1976)
Fig. 5-19 Annea Lockwood, A Sound Map of the Danube (2005)
Fig. 6-1 Casey Scalf, The Sandbox of Life (2014)
Fig. 6-2 Kimchi and Chips, Light Barrier (2014)
Fig. 6-3 The Telegarden (1995- 2004)
Fig. 6-4 Pippen Barr, Don't Drown (2014)
Fig. 6-5 Noelle Mason, Mise-en-Scene (2004)
Fig. 6-6 Kate Gilmore, Through the Claw (2011)
Fig. 6-7 Stelarc, Sitting / Swaying: Event for Rock Suspension (1980)
Fig. 6-8 Ed Fornieles, Dorm Daze (2011)
Fig. 6-9 Craig D. Giffen, Human Clock (2001 - ongoing)
Fig. 6-10 Duane McDiarmid, Trickster Project (2009- 2010)
Fig. 6-11 Mary Mattingly, The Waterpod Project (2009)
Fig. 6-12 Alicia Eggert, It's Nice to Meet You! (2007- 2008)
Fig. 6-13 Nikki Pike, Ice Bellows (2011)
Fig. 6-14 Joseba Elorza, Air Review- Young (2014)
Fig. 6-15 Natalie Bookchin, Now He's Out in Public and Everyone Can See
Fig. 6-16 Wim Vandekeybus, Blush (2005)
Fig. 6-17 aaajiao, Time Refactoring (2012)
Fig. 6-18 Different types of spatial re lationships
Fig. 6-19 A selection of common shots and framing choices
Fig. 6-20 Use your hands to create a frame
Fig. 6-21 Sparksight, International Recruiting with CollegeWeek Live (2014)
Fig. 6-22 Bill Viola, The Crossing (1996)
Fig. 6-23 Matt Barton and Jacob Ciocci, Extreme Animalz: the Movie, Part l (2005)
Fig. App-1 Differences between high-resolution and low-resolution photos
Fig. App-2 Differences between raster and vector.
Color Insert
Plate 1 Rachel Maclean, Over The Rainbow (2013)
Plate 2 Zachary Zezima, Cruising (2014)
xiv LIST O F FI GU RES
,·~
-0-
, I ' LIGHT: practice arranging and manipulating light
Four-dimensional art and design refers to those practices that involve time,
the fourth dimension, in some way. For the purposes of this book, we will
define art as those practices whose products and experiences are to be ap-
preciated mainly for their imaginative, aesthetic, or intellectual content,
while design will be defined as practices that focus on users and work
within constraints established by a client. Having noted this differentia-
tion, it is important to immediately acknowledge the border between art
and design is nebulous and overlaps a great deal in certain areas. Examples
of 4D practices include motion graphics, film/video, performance art,
social practice, sound art, installation, Internet art, game design, anima-
tion, and so on.
Historically speaking, the Bauhaus school of art and design (1919-
1933) in Germany may have been the first to embrace rudimentary ele-
ments and principles of four-dimensional art and design by embarking on
an experimental performance program. The Bauhaus stage, run by Oskar
Schlemmer starting in 1920, focused on the study of the relationship be-
tween humans and space. This program embraced experiments with space,
form, color, light, movement, sound, and language.1 Given this approach, it
is likely that if the Bauhaus were still functioning today, it would certainly
have programs in four-dimensional practices that go beyond theatrical
space to include all manner of video, sound, motion graphics, social prac-
tice, and so on.
However, some basic ideological shifts had yet to happen during the
time of the Bauhaus. It would not be until the 1960s that a large contin-
gency of artists fully embraced a variety of changes to their processes in-
cluding improvisational nonhierarchical approaches, a pointed disregard
for the previous limitations of various art forms, and a tendency to establish
one's own rules and structures within which to work. 2
xx INTRODUCTION
Subject
The subject is what the artist or designer is attempting to portray; subjects
in a work can be people, places, and things. For example, in the movie The
Wizard ofOz, the subject is Dorothy and the film follows her travels into the
tornado, through Oz, and back home again.
The subject of a work is most often represented visually, but it can
also be represented by invisible forms, such as sound or smell. Subject
matter may be representational meaning that it depicts a recognizable
person, place, or thing, like Dorothy in The Wizard of Oz or the subject
may be nonrepresentational, which means the subject does not depict
any particular person, place, or thing from reality. Nonrepresentational
4 ELEMENTS AND PRINCIPLES OF 4D ART AND DESIGN
Finding a Subiect
If you have the freedom to select your own subject, and it is not assigned
via client needs or other outside forces, you might find that it can be an
intimidating or difficult task. There are endless possibilities for subject
matter, and therefore it can be difficult or overwhelming to select an inter-
esting subject off the top of your head. To help ease this challenge, it can
be useful to focus on personal experience, which is a rich resource for
subject matter. Jotting down lists or maintaining a journal of some form
is an excellent way to collect potential subjects from your daily life. See
Chapter 2 on brainstorming for additional ideas and approaches to gener-
ating subject matter.
Exercise
)
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performa nee
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