Composition as a traditional discipline plays a very important role in the basic teaching of art design. It is the inspiration and concept transmission of students before entering professional learning. The Bauhaus School of Design in 1919 under the slogan of "Unification of Art and Technology" proposed by Gropius strives to seek and explore new modeling methods and concepts, and carries out abstract art elements such as points, lines, faces and bodies. A large amount of research has spent a lot of effort on the abstract shape, color, and quality modeling methods. Their research and innovation in teaching has laid a solid foundation for modern composition teaching. As a traditional basic course, the three-dimensional structure basically follows the teaching theory of the founder Albers, that is, regardless of any other material, the paper studies three-dimensional modeling and spatial relationships. However, with the development of the times, the concept has been continuously updated and profound changes have taken place in the three-dimensional composition of teaching requirements. This requires constant innovation and development in our teaching, so that students can learn about the design of this course. The concept has been extended and in-depth, to enhance the understanding of the United States, using a spatially and visually integrated thinking to look at the design and create a more beautiful visual environment.
In the formation of teaching, the three-dimensional structure can be said to be a comprehensive understanding of plane, color, and space. The direction of the study is to pursue all possible forms. This requires students to theoretically strengthen the cultivation of modeling concepts, and perform comprehensive visual training such as decomposition and combination of morphological elements from various aspects, so as to strengthen their overall understanding and awareness of form. . As the main body of the study of morphology, in addition to grasping the modeling structure, we should also emphasize training on the interaction between the materials that constitute the modeling and the space environment.
This article will focus on space in this discussion. First, the form exists in space The modern three-dimensional structure of education is not simply confined to an object itself, but rather describes the relationship between an environment and an object. The so-called environment is a spatial concept that includes physical space and psychological space. Every piece of work should give people a sense of sight, hearing, and smell in a styling existence and environmental dialogue. Like a sculpture or a building, their existence should take into account the echo of the surrounding environment. Its beauty also becomes more splendid because of the natural state of space or man-made carving. Nowadays, human beings have strengthened their protection of the environment. They have aspired to a kind of space environment coordinated development between man and nature in the design. This form has been widely respected in the design, such as the flowing water villa designed by the famous American architect Wright. The natural environment such as landform, water body, etc., is unique in shape, and it achieves the perfect combination of the main body of the building and the natural environment. The architectural form is not deliberately imposed on the environment, but naturally grows in the environment. It is a form of interdependence with the space environment. model. In China, the â€œharmony between man and natureâ€ is the basic spirit of traditional philosophy and aesthetic thinking. This is a reflection of a harmonious and intimate relationship with nature, ie, a high degree of unity of â€œideaâ€ and â€œenvironment,â€ such â€œunity "That is one of the integralities that we should emphasize in the three-dimensional teaching. In the process of teaching, I asked students to consider the environmental factors when designing a project, what kind of environment it should be placed in, and how to make the subject form more complete and intriguing. It may be through the changes in lighting brightness and color to enhance its sense of space. Perhaps the contrast between the contrast between the environment and the subject form enhances its uniqueness. Perhaps the size and orientation of the projection and form subject increase its expression, etc. All these things will have a corresponding visual reaction. Such a feeling is spatial and comprehensive. Therefore, in the three-dimensional composition teaching, apart from allowing students to understand the most basic knowledge, there is also a larger assignment. It is not only to divide a space for each student in the exhibition hall, but also to select a satisfactory position according to the idea to carry out the program. Conceived and created, this gives students a concept of space before they are created and is always accompanied by their creative process. In addition, in the proposition, give the students a broader topic, such as life, dreams and other topics, using the knowledge and their own ideas from the sketch to the final final production. The principle of taking a group of three is used to accomplish this. This will not only help people think collectively, but also strengthen the team spirit of the students. Through such training, students' enthusiasm is very high, the effect is also very good, and the thinking is well extended and improved. From a professional perspective, space is not considered an element of design, but it is so important to understand the concept of design, so it should be considered as part of our overall design. In the fields of graphic design and environmental art design, space is considered as one of the key factors in design success or failure. The design without white space is as boring as the rappers at the party. Therefore, the spatial experience in the three-dimensional structure is particularly important, laying a good foundation for future professional training. Second, non-material space In modern times, people's concept of space is not only confined to the three-dimensional space, the human ideology also as a continuation of space. A good work can produce infinite delusions and spiritual satisfaction. This association is not limited by space and time. In the East, the Chinese, with a perceptual ideology, realized earlier that to understand a complete and complex world, there must be a spiritual transcendence. In cultivating the primary stage of a student, it is important to strengthen the training of creative thinking and tap potential. The three-dimensional structure is an important training course on space at this stage. We can regard this ideological concept as an objective spatial consciousness and a subjective spatial ideology. The objective space refers to our work itself and the limited space environment. The form is created by the author and objectively exists. The subjective space plays an interactive role, that is, the influence of the work on the viewer. For example, in a house with a red coating around one person, there is a very depressing and impatient psychological feeling. This feeling is subjective consciousness. Form reaction. Their mutual extension constitutes the concept of "spatial comprehensive form". This feeling of immaterial space is an extension of the material world. Space and time are the counterparts. When time changes in the same space, the space will be intricately represented by superimposed and multi-mirror images. In the painting "The Naked Woman Down the Staircase", Duchamp can clearly see the gradual disengagement of the pure painting language. In the first painting, from the use of color to form, to the use of brushstrokes, they are full of strong painting and cubism. tendency. It gives people unlimited imagination and feels like being in space. He looked for continuous information about speed, summed him up into an overall performance, and created "vibration" in space. This results in subjective initiative of the work and gives the viewer unlimited space to accept and appreciate the work. This kind of thinking allows us to strengthen our sense of space for expansion in the space that we have already given. A broader understanding of the three-dimensional structure. When we look at a work in the same space and time, we may focus on one part of it. At this time, the object and the sight will emerge from its surrounding environment and become visible gradually. Expanding, and the surrounding objects and parts will recede and shrink. Objective and subjective are alternate roles. When the subjective wants to emphasize and focus, the vision will be adjusted accordingly. This is the exaggeration in art. It constitutes the guidance of an immaterial space and is the main element of our composition. Therefore, in the three-dimensional composition teaching, we always emphasize the constituent material subject. It is a kind of visual language and it is a thought that unfolds our infinite imagination. Imagination for the form is the perception and reproduction of those works. It is the movement and continuation of the material vision to the non-material feelings. This is what we hope students can understand in the three-dimensional composition teaching. Material space and non-material space are the content of our expression, because it is a whole, and it is a complete form that is faced through sight, touch, feeling, and so on. In the three-dimensional composition teaching, we emphasize more is a perceptual, a way of thinking. The three-dimensional space concept gives us enough scope to imagine and create. In teaching, I have a deeper understanding of the understanding of space, as if it were as important as the environment in which we live. Without the imagination of space and space, it would become meaningless. The idea of â€‹â€‹contemporary design is to create value, focus on new ideas, and discover new beginnings. As a teaching, it should be more forward-looking. I think the three-dimensional teaching space will bring us more inspiration and reflection.