圖書信息
立體構(gòu)成
-
【作 者】趙宇赤 唐保平
【I S B N 】978-7-5084-8499-0
【責任編輯】張玉玲
【適用讀者群】本科
【出版時間】2011-06-13
【開 本】16開
【裝幀信息】平裝（光膜）
【版 次】第1版第1次印刷
【頁 數(shù)】
【千字數(shù)】280
【印 張】9.75
【定 價】￥39
【叢 書】現(xiàn)代服務領(lǐng)域技能型人才培養(yǎng)模式創(chuàng)新規(guī)劃教材
【備注信息】教育部高等學校高職高專計算機類專業(yè)教學指導委員會優(yōu)秀教材
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章節(jié)列表
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相關(guān)圖書
本書從實際應用角度出發(fā)，以理論為基礎(chǔ)，以操作為重點，介紹了立體構(gòu)成的基礎(chǔ)理論及制作與應用。本書采用大量的典型教學案例，運用圖片分析的方式充分表述了立體構(gòu)成的設計過程。
全書共分6章：第1章立體構(gòu)成概述、第2章立體形態(tài)設計、第3章立體形態(tài)的美感創(chuàng)造、第4章立體形態(tài)構(gòu)成的分析、第5章立體形態(tài)構(gòu)成的加工制作工藝、第6章立體構(gòu)成與現(xiàn)代設計。本書是一本立體構(gòu)成綜合應用的實用型教材，具有可操作性和指導性，書中結(jié)合具體案例，在介紹必要的基礎(chǔ)知識的同時，分析了案例的特色，并在每個章節(jié)后面配有思考練習，以達到舉一反三的教學效果。為方便讀者學習，本書配有光盤，包括每章所用圖片素材。
本書可作為應用型本科、高職高專和成人高等院校藝術(shù)設計專業(yè)及相關(guān)專業(yè)的教材，也可作為立體構(gòu)成愛好者和立體構(gòu)成應用開發(fā)技術(shù)人員的參考資料。
空間造型理念——深入系統(tǒng)闡述“立體構(gòu)成”的基本知識點和技能點，將理論與實際應用完美結(jié)合
新視野新突破——大量運用實際圖片講解立體構(gòu)成各要素間的原理、規(guī)律、法則、技巧
案例帶動教學——每章后設置精品案例點評和訓練題課，以點帶面，便于讀者提高運用立體構(gòu)成的綜合能力
配套素材光盤——為方便讀者學習，本書免費贈送光盤，包括每章所用的素材圖片
立體構(gòu)成作為設計領(lǐng)域的一個重要方面，已經(jīng)越來越廣泛地應用于人們的日常生活、學習和工作等各個領(lǐng)域，已經(jīng)成為藝術(shù)設計領(lǐng)域必不可少的組成部分。
全書以實用技能培養(yǎng)為出發(fā)點，以圖片實例講解為先導，形象直觀地闡述立體構(gòu)成的設計思路和表現(xiàn)方法，采用文字和圖片相結(jié)合的教學模式，闡述立體構(gòu)成的運用理論，并融入了許多實際經(jīng)驗，具有較強的針對性與指導性。
熟練掌握立體構(gòu)成技能，可以從事工業(yè)設計、園林設計、景觀設計、建筑空間設計、室內(nèi)設計、服裝設計、家居日用品設計、陶藝設計、首飾設計等多方面的職業(yè)。
本書內(nèi)容豐富、結(jié)構(gòu)清晰、實戰(zhàn)性強，是讀者進行學習的最佳藍本。既介紹了立體構(gòu)成的基礎(chǔ)知識，又著重介紹了立體構(gòu)成在創(chuàng)作過程中的思維方法和表現(xiàn)手段，通過精選的6章內(nèi)容為讀者進行立體構(gòu)成設計奠定了堅實的基礎(chǔ)。
本書由教學一線骨干教師合作編寫，由趙宇赤統(tǒng)稿并任第一主編，唐保平任第二主編，王樹彬、孫大偉任副主編。第1章、第5章、第6章由趙宇赤、王樹彬編寫，第2章、第3章、第4章由唐保平、孫大偉編寫。
由于時間倉促，加之編者水平有限，書中疏漏和錯誤之處在所難免，懇請廣大讀者批評指正。
編者
2011年2月
第1章 立體構(gòu)成概述 ························1
1.1 空間立體構(gòu)成的研究意義 ·····························2
1.1.1 立體構(gòu)成的起源與發(fā)展 ······················9
1.1.2 立體構(gòu)成的概念及特征 ····················12
1.1.3 立體構(gòu)成與空間設計的關(guān)系 ············14
1.1.4 作品賞析 ············································18
1.2 立體構(gòu)成設計的思維方法 ···························21
1.2.1 確立設計的思維模式 ························22
1.2.2 確立空間的思維模式 ························22
1.2.3 在立體造型過程中提高審美修養(yǎng) ····24
1.2.4 在設計實踐中提高創(chuàng)新能力 ············25
1.2.5 作品賞析 ············································26
1.3 思考與練習 ···················································30
第2章 立體形態(tài)設計 ······················31
2.1 造型與形態(tài) ···················································32
2.1.1 立體形態(tài)的構(gòu)成特點 ························34
2.1.2 立體形態(tài)的物理空間與心理空間 ····34
2.1.3 作品賞析 ············································36
2.2 立體構(gòu)成形態(tài)的知覺感受表現(xiàn) ···················37
2.2.1 形態(tài)的量感 ········································37
2.2.2 形態(tài)的生長感 ····································38
2.2.3 形態(tài)的速度感 ····································39
2.2.4 形態(tài)的和諧感 ····································40
2.2.5 形態(tài)張力的塑造 ································40
2.2.6 形態(tài)立體空間錯覺 ····························41
2.2.7 作品賞析 ············································42
2.3 立體構(gòu)成的美學原則 ···································43
2.3.1 對稱與均衡 ········································43
2.3.2 節(jié)奏與韻律 ········································45
2.3.3 對比與微差 ········································46
2.3.4 比例與尺度 ········································48
2.4 思考與練習 ··············································50
第3章 立體形態(tài)的美感創(chuàng)造 ···········51
3.1 立體形態(tài)的解析與重組 ·······························52
3.1.1 線材立體構(gòu)成 ····································52
3.1.2 面材立體構(gòu)成 ····································54
3.1.3 單元形體的拆解與組合構(gòu)成 ············55
3.1.4 作品賞析 ············································58
3.2 減法創(chuàng)造 ·············································59
3.2.1 分裂 ··············································59
3.2.2 破壞 ··············································60
3.2.3 退層 ··············································61
3.2.4 切割 ··············································61
3.2.5 作品賞析 ············································63
3.3 加法創(chuàng)造 ·············································64
3.3.1 堆砌組合 ············································64
3.3.2 接觸組合 ············································64
前言
目錄
MULU
目 錄
3.3.3 貫穿組合 ············································64
3.3.4 嵌入組合 ············································65
3.3.5 充填與包裹嵌入組合 ························66
3.4 思考與練習 ············································68
第4章 立體形態(tài)構(gòu)成的分析 ···········69
4.1 立體構(gòu)成的材料分析 ···································70
4.1.1 硬質(zhì)材料 ············································70
4.1.2 軟質(zhì)材料 ············································72
4.1.3 動態(tài)材料 ············································74
4.1.4 作品賞析 ············································75
4.2 立體形態(tài)的結(jié)構(gòu)分析 ···································76
4.2.1 插接構(gòu)造 ············································76
4.2.2 折屈聯(lián)系 ············································77
4.2.3 框架組合結(jié)構(gòu) ····································78
4.2.4 作品賞析 ············································79
4.3 立體形態(tài)構(gòu)成的功能分析 ···························80
4.3.1 立體形態(tài)構(gòu)成對審美能力的培養(yǎng) ····80
4.3.2 立體形態(tài)構(gòu)成對動手實踐能力的
培養(yǎng) ····················································81
4.3.3 作品賞析 ············································82
4.4 立體形態(tài)構(gòu)成的色彩情感分析 ···················83
4.4.1 主體形態(tài)與附加形態(tài)間的色彩
關(guān)系 ····················································84
4.4.2 色彩的輕重感加強形態(tài)間的穩(wěn)
定性 ····················································85
4.4.3 材料的色彩和質(zhì)感的效果 ················86
4.4.4 形態(tài)的設色與環(huán)境相互影響 ············87
4.4.5 立體形態(tài)與光 ····································89
4.4.6 作品賞析 ············································90
4.5 立體形態(tài)的肌理效果分析 ··························91
4.5.1 肌理的作用 ········································91
4.5.2 肌理與光感 ········································93
4.6 思考與練習 ·········································94
第5章 立體形態(tài)構(gòu)成的加工制作
工藝 ···································95
5.1 立體構(gòu)成材料及加工制作 ···························96
5.1.1 紙立體形態(tài)的加工制作方法 ············96
5.1.2 軟陶形態(tài)的加工制作方法 ················99
5.1.3 繩編立體形態(tài)的制作方法 ··············101
5.1.4 木雕立體形態(tài)的加工制作方法 ······104
5.1.5 金屬立體形態(tài)的加工制作方法 ······107
5.1.6 作品賞析 ··········································110
5.2 立體形態(tài)的模具翻制工藝 ·························111
5.2.1 石膏翻制工藝 ··································111
5.2.2 玻璃鋼翻制工藝 ······························113
5.2.3 作品賞析 ··········································115
5.3 思考與練習 ··········································116
第6章 立體構(gòu)成與現(xiàn)代設計 ·········117
6.1 立體構(gòu)成在景觀設計中的應用 ·················118
6.2 立體構(gòu)成在室內(nèi)設計中的應用 ·················128
6.3 立體構(gòu)成在產(chǎn)品設計中的應用 ·················133
6.4 立體構(gòu)成在服飾品設計中的應用 ·············139
6.5 思考與練習 ···········································145
參考文獻 ········································146
1.1 空間立體構(gòu)成的研究意義 ·····························2
1.1.1 立體構(gòu)成的起源與發(fā)展 ······················9
1.1.2 立體構(gòu)成的概念及特征 ····················12
1.1.3 立體構(gòu)成與空間設計的關(guān)系 ············14
1.1.4 作品賞析 ············································18
1.2 立體構(gòu)成設計的思維方法 ···························21
1.2.1 確立設計的思維模式 ························22
1.2.2 確立空間的思維模式 ························22
1.2.3 在立體造型過程中提高審美修養(yǎng) ····24
1.2.4 在設計實踐中提高創(chuàng)新能力 ············25
1.2.5 作品賞析 ············································26
1.3 思考與練習 ···················································30
第2章 立體形態(tài)設計 ······················31
2.1 造型與形態(tài) ···················································32
2.1.1 立體形態(tài)的構(gòu)成特點 ························34
2.1.2 立體形態(tài)的物理空間與心理空間 ····34
2.1.3 作品賞析 ············································36
2.2 立體構(gòu)成形態(tài)的知覺感受表現(xiàn) ···················37
2.2.1 形態(tài)的量感 ········································37
2.2.2 形態(tài)的生長感 ····································38
2.2.3 形態(tài)的速度感 ····································39
2.2.4 形態(tài)的和諧感 ····································40
2.2.5 形態(tài)張力的塑造 ································40
2.2.6 形態(tài)立體空間錯覺 ····························41
2.2.7 作品賞析 ············································42
2.3 立體構(gòu)成的美學原則 ···································43
2.3.1 對稱與均衡 ········································43
2.3.2 節(jié)奏與韻律 ········································45
2.3.3 對比與微差 ········································46
2.3.4 比例與尺度 ········································48
2.4 思考與練習 ··············································50
第3章 立體形態(tài)的美感創(chuàng)造 ···········51
3.1 立體形態(tài)的解析與重組 ·······························52
3.1.1 線材立體構(gòu)成 ····································52
3.1.2 面材立體構(gòu)成 ····································54
3.1.3 單元形體的拆解與組合構(gòu)成 ············55
3.1.4 作品賞析 ············································58
3.2 減法創(chuàng)造 ·············································59
3.2.1 分裂 ··············································59
3.2.2 破壞 ··············································60
3.2.3 退層 ··············································61
3.2.4 切割 ··············································61
3.2.5 作品賞析 ············································63
3.3 加法創(chuàng)造 ·············································64
3.3.1 堆砌組合 ············································64
3.3.2 接觸組合 ············································64
前言
目錄
MULU
目 錄
3.3.3 貫穿組合 ············································64
3.3.4 嵌入組合 ············································65
3.3.5 充填與包裹嵌入組合 ························66
3.4 思考與練習 ············································68
第4章 立體形態(tài)構(gòu)成的分析 ···········69
4.1 立體構(gòu)成的材料分析 ···································70
4.1.1 硬質(zhì)材料 ············································70
4.1.2 軟質(zhì)材料 ············································72
4.1.3 動態(tài)材料 ············································74
4.1.4 作品賞析 ············································75
4.2 立體形態(tài)的結(jié)構(gòu)分析 ···································76
4.2.1 插接構(gòu)造 ············································76
4.2.2 折屈聯(lián)系 ············································77
4.2.3 框架組合結(jié)構(gòu) ····································78
4.2.4 作品賞析 ············································79
4.3 立體形態(tài)構(gòu)成的功能分析 ···························80
4.3.1 立體形態(tài)構(gòu)成對審美能力的培養(yǎng) ····80
4.3.2 立體形態(tài)構(gòu)成對動手實踐能力的
培養(yǎng) ····················································81
4.3.3 作品賞析 ············································82
4.4 立體形態(tài)構(gòu)成的色彩情感分析 ···················83
4.4.1 主體形態(tài)與附加形態(tài)間的色彩
關(guān)系 ····················································84
4.4.2 色彩的輕重感加強形態(tài)間的穩(wěn)
定性 ····················································85
4.4.3 材料的色彩和質(zhì)感的效果 ················86
4.4.4 形態(tài)的設色與環(huán)境相互影響 ············87
4.4.5 立體形態(tài)與光 ····································89
4.4.6 作品賞析 ············································90
4.5 立體形態(tài)的肌理效果分析 ··························91
4.5.1 肌理的作用 ········································91
4.5.2 肌理與光感 ········································93
4.6 思考與練習 ·········································94
第5章 立體形態(tài)構(gòu)成的加工制作
工藝 ···································95
5.1 立體構(gòu)成材料及加工制作 ···························96
5.1.1 紙立體形態(tài)的加工制作方法 ············96
5.1.2 軟陶形態(tài)的加工制作方法 ················99
5.1.3 繩編立體形態(tài)的制作方法 ··············101
5.1.4 木雕立體形態(tài)的加工制作方法 ······104
5.1.5 金屬立體形態(tài)的加工制作方法 ······107
5.1.6 作品賞析 ··········································110
5.2 立體形態(tài)的模具翻制工藝 ·························111
5.2.1 石膏翻制工藝 ··································111
5.2.2 玻璃鋼翻制工藝 ······························113
5.2.3 作品賞析 ··········································115
5.3 思考與練習 ··········································116
第6章 立體構(gòu)成與現(xiàn)代設計 ·········117
6.1 立體構(gòu)成在景觀設計中的應用 ·················118
6.2 立體構(gòu)成在室內(nèi)設計中的應用 ·················128
6.3 立體構(gòu)成在產(chǎn)品設計中的應用 ·················133
6.4 立體構(gòu)成在服飾品設計中的應用 ·············139
6.5 思考與練習 ···········································145
參考文獻 ········································146
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