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Unformatted text preview: es and three-dimensional forms? Geometric and Free-Form Shapes Demonstrating Effective Use of Art Media in Design. Using the printed areas of a newspaper, make two cut-paper designs. Make one design by measuring and cutting precise geometric shapes. Make the second design by tearing freeform shapes. Arrange the shapes and glue them on a sheet of black construction paper. Use a white crayon to print the words free-form and geometric on the appropriate design. Try to make the letters for geometric look geometric, and the letters for free-form look free-form. 100 CHAPTER 5 Shape, Form, and Space Computer Option. Use the Shape or Straight Line tools to draw four different geometric shapes. Do not overlap the shapes and space them apart so they can easily be selected and arranged later. Choose a color scheme and make each shape a solid color. Pick the Selection tool and then the Copy and Paste menu to repeat each of the shapes several times on the page. When the page is nearly full, choose a Brush or Pencil tool to draw free-form shapes in between the geometric shapes. Select the Bucket tool to fill these shapes with pattern. Forms Although the words shape and form are often used interchangeably in everyday language, they have different meanings in the language of art. Forms are objects having three dimensions. Like shapes, they have both length and width, but forms also have depth. You are a three-dimensional form; so is a tree or a table. Two-dimensional shapes and threedimensional forms are related (Figure 5.5). The end of a cylinder is a circle. One side of a cube is a square. A triangle can “grow” into a cone or a pyramid. Like shapes, forms may be either geometric (Figure 5.6) or free-form (Figure 5.7 on page 102). Geometric forms are used in construction, for organization, and as parts in machines. Look around you. What forms were used to build your school, your church, your home? Look under the hood of a car. What forms were used to build the motor? Did you know that common table FIGURE 5.6 The inspiration for this work came from Smith’s studies of geometric crystalline forms in the early 1960s. The title, a pun on the insect it resembles, is based on the mythical beast of the same name in James Joyce’s Finnegan’s Wake. This is one of Smith’s most complex sculptures. It took him eight years to see it to completion. The six separately constructed, geometric steel units were assembled on the museum’s lawn in 1972. Tony Smith, Gracehopper. 1971. Welded steel and paint. Height: 7 m (23 ). The Detroit Institute of Arts, Detroit, Michigan. Founders Society Purchase with other funds. LESSON 1 Shapes and Forms 101 FIGURE 5.7 An Inuit artist carved this free-form, organic sculpture of a polar bear from memories of personal experiences observing and hunting polar bears. Compare and contrast the forms of this sculpture from Inuit culture to the forms of Tony Smith’s minimalist sculpture in Figure 5.6. Ashevak Adla. Walking Bear. Serpentin...
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