Gail Greet Hannah, “Elements of Design”, p. 48-57
ARCH1112, FA20
Gail Greet Hannah, “Elements of Design”, p. 48-57
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Question 1: Who is the author of the book, and what can you find out about her?
Javon Morgan
Question 1: Who is the author of the essay?
Answer: The author of this essay is Gail Greet Hannah.
The Author of the essay is written by Gail Greet Hannah, where she speaks about the qualities of contrasting shapes and how dominant & subdominant go together creating complementary forms. To speak about the establishment of beautiful relationships in which come through a balanced unity of three Volumes.
The author of the essay is Rowena Reed Kostellow, American Industrial Designer and Professor.
The author of the book is Rowena Reed Kostellow. She is an industrial designer who graduated from the University of Missouri with a Bachelor of Arts in Journalism.
The author by Gail Greet Hannah. she talks about the qualities of contrasting shapes and the relationships between the volumes by choosing dominant, subdominant, and subordinate forms.
This essay was written by Gail Greet Hannah
The author of the Book “Elements of Design: Rowena Reed Kostellow and the Structure of Visual Relationships” is Gail Greet Hannah. Rowena Reed Kostellow and Gail Greet Hannah worked together to publish the book in an effort to publish the former’s teaching method.
The author is Gail Greet Hannah. Based on this chapter you can find out she knows a lot about the contrast between subordinate, dominant, and subdominant three-dimensional shapes. In this case with rectilinear volumes.
A: the author of this book is Gail Greet Hannah. What I can find out about her is that based on the quote she uses in the beginning she gives us a way to look at shapes in a different perspective, there is beauty to shapes that not many know or can see.
The author of this essay is Gail Greet Hannah. what I found about her is that she is all about shapes like where you should place them and the position of the axes volume. however she also mentioned that always ask yourself question so that way you can fix your mistakes on your model or composition.
The author of the book is Gail Greet Hannah and she wrote two more books on Site Furnishings and Classroom Spaces and Places.
Question 2: The author discusses principles that help organizing the rectangular volumes. Name two principles.
Dominant and Subdominate
Javon Morgan
Question 2: The author discusses principles that help organizing the rectangular volumes. Name two principles.
Answer: The two principles that would help organize the three rectangles are appreciating the qualities of contrasting shapes and to establish relationships between the volumes by choosing the dominate, subdominant, and subordinate forms.
Two principles the author discusses in the essay that helped organize the rectangular volumes include
1) “To establish a connection between your choice of dominant and subdominant, and subordinate form.” Meaning the dominant volume is the most outstanding element in the group. Therefore the unity between all three volumes has to create a character in the relationship that can be corresponding. It must fill each other to make itself complete. While maintaining the order of dominant, subdominant, and subordinate.
2) “be aware of proportions; overall, inherent, and comparative”
To configure the formation of the group, creating a united relationship that supports and strengthens every other imperfect balance or tension. Taking your work to achieving an exquisite bond.
1.Be aware of proportions
2.Establish relationships between the volumes.
The to principles that help organizing the rectangular volumes is Establish relationships between the volumes by choosing dominant, subdominant, and subordinate forms and Be aware of proportions: overall, inherent, and comparative.
The two principles rectangular volumes are dominant and subdominant
The two principles the author discusses are the connections between dominant, subdominant, and subordinate volumes. And to be aware of the proportions of the volumes.
Two principles Gail discusses is proportions and appreciating uniqueness of different forms. The shapes we use shouldn’t be uniform, they should be different.
Dominant is a view of the main area of highest concentration of the viewers eye can see due to the space being in the front and center, and just by looking at the middle of a form you make out most of the overall outline of the form. Subdominant is the second highest concentration of space they viewer has his view on, because of its placement at the bottom, but has lots of darker aspects.
Question 3: What does the author mean when she writes about qualities of contrasting shapes?
qualities of contrasting shapes adds visual interest to the model instead of having the same sizes and shapes, making it look boring.
Javon Morgan
Question 3: What does the author mean when she writes about qualities of contrasting shapes?
Answer: The author writes about the qualities of contrasting shapes within this essay. This is clearly transformative because the reader learns that the author wants to demonstrate the importance that each shape or volume must have its own character and uniqueness. The author also believes that we shouldnât have to measure the shape or volume to determine its size. We should be able to understand the volume of an object only through our eyes.
Gail Greet Hannah writes about the qualities of contrasting shapes to send the message no two similar measurement form can create as much character compared to three different volumed shapes. This means having a dominant, subdominant, and subordinate creates an overall configuration of a group. Giving an exaggerated designing aspect of balance and character. It can’t be independent of one another otherwise the three volumes can’t be proportioned. The form and shape won’t have a three-dimensional design where it can be read from all directions.
The author is trying to suggest that the volumes in our design should vary in character as much as possible , and that no two should have the same measurements. This will give the design a sense of uniqueness as well as open up different ways the structure can support itself.
The author talks about carefully choosing volumes that donât have the same measurement and vary in character as much as possible. This is the first crucial step to the creation of an interesting design, made up of different and unique forms that balance and complement each other at the same time. The visual artist needs to possess a certain sensitivity when it comes to connecting different elements in a way that every piece brings out the dissimilarities in each other and celebrates them. Itâs the harmonious overall proportion of these contrasting shapes that makes the composition beautiful and away from ordinary and predictable.
What the author is referring to when she writes about the qualities of contrasting shapes is the fundamentals of having dominant, subdominant, and subordinate forms. One of the aspects that can enhance how interesting an image or form looks is the mastery over these elements of design. Shapes which are all similar and uniform are boring to look at and they don’t compliment bring out any of the characteristics of the other shapes, as they are all the same. Contrasting shapes can be used to draw out another shape’s elements or give them an element they lack. This is how the author believes you can make interesting designs, through these contrasts. More importantly, they can add a lot more depth to your designs than you would have with uniform shapes and forms.
The author is clearly trying to enhance our understanding of complexity and definition with any form usage. By explaining to us the qualities of contrasting shapes she doesn’t just tell us how important it is to include variety of set shapes and volumes, but to have an infinitive changing views on setting and arranging the form every time you add a new though or element into it. The more and more we transform our thoughts on the completed form and change it up every time regarding volume we will get those qualities she talks about.
Question 4: What does this quote address: “Forms have to be good for each other –like ham and eggs.”?
Javon Morgan
Question 4: What does this quote address: âForms have to be good for each other âlike ham and eggs.â?
Answer: The quote, âForms have to be good for each other âlike ham and eggsâ, demonstrates the importance of the relationship between the dominant/subdominant shape or volume. The analogy âham and eggsâ demonstrates that even though these two foods are different in shape and volume, they complement each other very well. This idea can be applied when placing different shapes or volumes upon each other.
âForms have to be good for each other âlike ham and eggs.â?-Gail Greet Hannah
When you think of ham and eggs, you are visualizing a mixture of elements (the ingredients) creating a strong “dish combining”. Now when you compare these elements to our complimentary design of shapes. Gail Greet Hannah is trying to address, our three-volume shapes have to mix and twine just like “ham and eggs” to create not just a developed design… but a visualization of balance amongst another, an establishment of every part otherwise the relationship won’t achieve its symmetrical formation.
This quote in particular addresses the important relationship of equilibrium and proportion between the dominant and the subdominant elements.â¨As being the largest element, placed in the most prominent position, the role of the dominant is to be the center of attention of the composition. The subdominant complements the dominant by adding contrast, both in character and position. In order for this relationship to be interesting, exciting and pleasing to the eye, the dominant needs to stay the focus of the composition, by creating a subdominant that it not too similar in size and shape, and by placing it a position that will complement the dominant without taking anything away from it. Both elements are independent, the same way ham and eggs can be eaten separately and still taste good, but itâs when you harmoniously combine them together that you create something delicious.
Question 5: How would you describe the “dominant” volume
The dominant volume is the largest and most recognizable or interesting element in a group. It occupies the most space and stands out more than other elements.
The dominant volume is the center piece of the structure, and it should stand out the most.
The dominant volume would be the largest most filling and outgoing piece of the group. its usually the ones who stand out.
The “dominant” volume is the most important and main focus of the piece. The “dominant” volume is the one that usually is the largest and catches most of the attention of a piece.
The purpose of dominant volume it is a piece that stands out the most and it’s able to be recognized.
The purpose of dominant volume it is a piece that stands out the most and it’s able to be recognized.
The author uses “ham and eggs” as an analogy to represent the relationship between two different elements/items that could possibly complement each other when composed into one. Visually and by taste alone, the combination between ham and eggs is something that can be well received by most. We can also substitute other elements if wanted. When working with shapes, we can take this concept into consideration to arrange our uniformed shapes in a manner to make them visually pleasing and simplistic at the same time.
The quote, âForms have to be good for each other âlike ham and eggsâ, demonstrates that the ham and eggs have a different proportion, likewise the structures with ther spaces or volumes can complement each other, relating their equilibrium and proportion between the dominant and subdominant elements .
This quote addresses the connection/relationship between dominant and subdominant volumes. It basically means that dominant/subdominant shapes are perfect for contrast. Just like “ham and eggs” are a perfect combo.
The quote “Forms have to be good for each other âlike ham and eggsâ addresses how a form should correlate with each other to be able to look clean. Just how a sentence does not work without punctuation. A Yin-Yang situation between two structures/forms to create harmony with each other
Question 6: How would you describe the “subdominant” volume?
The subdominant volume compliments the dominant volume. It is meant to enhance or magnify the dominant volume. The subdominant volume should be completely different from the dominant volume. It should never overpower or outshine the dominant volume. The contrast in character between the dominant and subdominant volumes is what makes a group interesting and exciting to look at.
Question 7: How would you describe the “subordinate” volume?
The subordinate volume is the third visual element and introduces a third axis to your design. The subordinate volume should make the design more three dimensional, compliment the existing forms, and complete the unity of the design. It should be different but sensitive to the other forms. It should never overshadow the dominant or subordinate volumes. It must be designed to fill in what is missing in the other two volumes. It is meant to unify and complete your design.
Question 8: What does “inherent” proportion refer to?
It refers to the the objects length, width and thickness.
it refers to proportion within the form ( length, width, and thickness)
The inherent proportion refer to length, width and thickness.
Question 9: What are “comparative” proportions?
refers to the proportions in relation to one another ( how tall, how short etc.)
Comparative is when there is two different objects are being compared.
Question 10: What do “overall” proportions refer to?
The overall proportion refers to the character or overall configuration of the group of forms. Usually forms are proportioned horizontally or vertically.
Question 11: Why does the author suggest not to emphasize the cube as an overall proportion of a configuration?
Question 12: What does the ‘axis’ of a volume refer to?
Question 13: How do you understand the difference between âbeautifulâ and âordinaryâ form?
Question 14: What is an âimaginaryâ line?
Question 15: What is a âstatic axisâ?
‘static axis’ is the simplest way to get away from flat compositions.
Question 16: How do you keep the axes of the volumes static?
Question 17: Why is it important to constantly rotate your compositions?
Question 18: Name three ways to join volumes.
three ways to join volumes are, piercing, wedging, and cradling.
The three ways to join volumes are, cuddling, piercing and wedging.
Question 19: In your own words, describe ‘Cradling’.
Cradling is placing an object in between two or more objects as a way of supporting it.
Question 20: In your own words, describe âPiercingâ.
Piercing is taking one object and placing it somewhere inside the object rather at the sides or edges.
‘Piercing’ is when one form is penetrating all the way through another form. I think of it as if someone was to remove the ‘piercing’ form from the other there would be a hole in its place.
Question 21: In your own words, describe âWedgingâ.
Question 22: In summary, what is a main challenge that the author brings up?
Question 23: What does the author mean by âa balance of directional forcesâ?
Question 24: Can you elaborate on the analogy of the dancer that the author discusses?
Question 25: How does the author define âunityâ, and how do you know that you have achieved it?
The author defines “unity” as a visual balance and coordination between each object working together as a whole. You know you have achieved such “unity” when any minor change or displacement in the combination will throw off the whole assembly and most likely make it less interesting and uncoordinated.
Question 26: What does Gina Caspi suggest is the one thing a student learns from this design problem?
Gina Caspi suggest that one thing students learn from this design problem is the ability to enhance the look of something by just placing another thing near it.
Question 27: Does a dominant form have to be in the most prominent position?
Question 28: What does the author mean when suggesting not to treat the subordinate volume as an âorphanâ?
When the author say to not treat the subordinate as orphan basically she saying to not let the subordinate be on itâs own, but instead used it to fill the gap left by the dominant and the subdominant.
Question 29: What experience is Gerald Guiotta talking about, when he suggests: âyou can destroy the exercise and you havenât lost anythingâ?
Habiba Abdelgawad
Question 1: what is the name of this essay
Answer: elements of design
Habiba Abdelgawad
Question 2: is there’s example in this essay?
Answer: yes