MADISON PUBLIC SCHOOLS
Three Dimensional Design
Authored by: Mandy Berry-Coster
Reviewed by: Lee Nittel,
Director of Curriculum and Instruction
Stacy Snider,
Supervisor of Visual and Performing Arts
Adopted by the Board: January, 2013
Members of the Board of Education:
Lisa Ellis, President
Patrick Rowe, Vice-President
David Arthur
Kevin Blair
Shade Grahling
Linda Gilbert
Thomas Haralampoudis
James Novotny
Superintendent: Dr. Michael Rossi
Madison Public Schools
359 Woodland Road, Madison, NJ 07940
www.madisonpublicschools.org
I. OVERVIEW
Three Dimensional Design is an entry level art course designed for the student who is interested in art,
design, sculpture, architecture and personal enrichment. Artwork produced from this course may be
added to a student’s portfolio for college. This course will provide the student with knowledge,
awareness and experience in the elements and principles of art as they apply to the creation of 3dimensional forms. Students are challenged to find creative solutions to visual problems by designing
and building a variety of 3-dimensional compositions using different media, such as wire, metal, wood,
paper, clay, stone, plaster and found objects. This art course is predominantly studio (production)
oriented and integrates aesthetics, art criticism, and art history as they relate to the various studio
projects. This course has no prerequisites and is appropriate for both the committed art enthusiast and
the individual with no prior high school art course experience.
II. RATIONALE
Three Dimensional Design is an art course that will provide the student a thorough knowledge base in
both additive and subtractive constructions, giving the student experience in design problem solving.
Design and the ability to work in a three dimensional space utilizing a variety of tools will enhance the
student’s visual spatial development and kinesthetic skills. The students will gain experience using a
wide range of tools and materials. The course is designed to allow the serious art student to flourish and
the student without any experience or serious interest to remain engaged. The creative right side of the
brain will be consistently stimulated in a nurturing environment. This course is an excellent foundation
for those students interested in such careers as architecture, industrial design, interior design,
engineering, physics, mathematics and all art-related careers.
III. STUDENT OUTCOMES (Linked to New Jeresey Core Curriculum Standards)
1. Students will gain historical and cultural awareness as it relates to 3 dimensional design.
(Standards 1.3, 1.4, 1.5)
2. Students will demonstrate effective kinesthetic and motor skills while working with 3
dimensional materials. (Standard 1.2)
3. Students will apply critical thinking skills and visual art language to class critiques and selfevaluation. (Standard 1.4)
4. Students will demonstrate problem solving skills with each activity. (Standard 1.2)
5. Students will gain knowledge and understanding of the design elements and principles as they
apply to 3 dimensional forms. (Standard 1.3, 1.5)
6. Students will consider and apply the design elements and principles, visual and spatial aesthetics,
composition and proportion to their own sculptures. (Standards 1.2, 1.3)
7. Students will understand and be able to create both objective and non-objective work. (Standards
1.1, 1.2, 1.3, 1.5)
8. Students will demonstrate mastery with each of the different media they will be utilizing in the
course. (Standards 1.1, 1.2, 1.3)
9. Students will master multiple methods of trimming, attaching, adhering and joining elements of
sculptures togerher. (Standards 1.1, 1.2)
10. Students will demonstrate proficiency when utilizing necessary tools needed to complete each
activity. (Standard 1.2)
11. Students will create interesting and diverse yet unified sculptures “in the round”- from all
viewable angles. (Standards 1.1, 1.3)
12. Students will be able to work within the parameters of each activity. (Standards 1.2, 1.4)
13. Students will be able to work effectively in a studio setting. (Standard 1.2)
New Jersey Department Core Curriculum Content Standards for Visual and Performing Arts
STANDARD 1.1 (Aesthetics) All students will use aesthetic knowledge in the creation of and in
response to dance, music, theater, and visual art.
STANDARD 1.2 (Creation and Performance) All students will utilize those skills, media, methods, and
technologies appropriate to each art form in the creation, performance, and presentation of dance,
music, theater, and visual art.
STANDARD 1.3 (Elements and Principles) All students will demonstrate an understanding of the
elements and principles of dance, music, theater, and visual art.
STANDARD 1.4 (Critique) All students will develop, apply, and reflect upon knowledge of the process
of critique.
STANDARD 1.5 (History/Culture) All students will understand and analyze the role, development,
and continuing influence of the arts in relation to world cultures, history, and society.
IV. ESSENTIAL QUESTIONS AND CONTENT
Unit 1: Movement and Composition in Sculpture (3-5 weeks)
Obj. 1: SWBAT gain an understanding of movement in a sculpture.
QUESTION: What indicates movement in a sculpture?
Suggested Activities:
Analyze works of art by Maya Lin, George Hart, Marcel Duchamp (2D and 3D work),
and Alexander Calder and discuss the ways their artork has shown movement and
rhythm.
Obj. 2: SWBAT learn about creating a pleasing composition in a 3 dimensional form.
QUESTION: How does the composition of a sculpture define the feeling and perhaps meaning?
Suggested Activities:
A. Referencing the work of David Smith, work with blocks of wood, cardboard or strips
of paper and tape together to create temporary sculptures. Critique results for pleasing
compositions.
B. Working in cooperative groups, reference master scuptures in digital or print format
and discuss how/why the composition works using proper visual art language.
Obj. 3: SWBAT create a design for a 3-dimensional work using movement as a major design
principle.
QUESTION: How might movement be achieved with the given material? Discuss other elements
and principles of art- line, shape, rhythm and balance.
Suggested Activities:
A. Sketch a plan for a movement sculpture that would include many units/pieces of the
same shape.
B. Create a maquette out of scrap cardboard that imitates the above suggested sketch.
C. Sketch a plan for a movement sculpture that would only include linear pieces- an
“open form”, emphasizing positive and negative space.
Obj. 4: SWBAT work precisely and neatly when trimming and adhering pieces of sculpture
together. (Standard )
QUESTION: How does overall presentation and technique affect how successfully the illusion of
movement/rhythm is achieved?
Suggested Activities:
A. Practice trimming balsa wood, cardboard or foam core using scrap materials.
B. Practice using wood glue on scrap material.
C. Practice creating and arranging shapes by completing a “Repeated Planes” activity.
Obj. 5: SWBAT create a free-standing sculpture, emphasizing the principle, movement.
QUESTION: How does a sculpture remain upright?
symmetry and asymmetry.
Discuss implied weight of sculpture,
Suggested Activities:
A. Balsa Wood or Foam Core Sculpture (Stacked Volume)- Utilizing the principles of
“rhythm” and “balance”, students will cut out the same or gradually changing
shapes, then stack them, symmetrically or asymmetrically, to create visual
movement.
B. Cardboard Design- Students will use the textured edge side of corrugated cardboard
pieces as the major design element in their sculpture by stacking the pieces and
trimming each one slightly different than the previous. The end result will be a
“gradation” of textured movement.
C. Bas-Relief Sculpture- Working with white cardboard, create a bas-relief sculpture
using only one shape that varies in size and arrange the pieces together so that there
are many planes placed at a variety of angles.
D. Open Forms (Constructivist inspired)- Emphasizing positive/negative space and line,
students will create a sculpture out of many modular units of toothpicks or open
cardstock shapes.
E. Create a movement sculpture out of tin, cutting edges and bending, twisting, and/or
curling pieces in a gradual way.
Unit 2: Sculpting with Paper (3-5 weeks)
Obj. 1: SWBAT understand how to manipulate a 2 dimensional medium, paper, to become an
intricate 3-dimensional design.
QUESTION: How can dimension be added to the medium, paper?
Suggested Activities:
A. Manipulate paper by tearing or folding, in order to evoke different feelings, as
instructed by teacher.
B. Create a fractal paper design to demonstrate pop up paper capabilities.
C. Create pop up cards by following given patterns.
D. Complete pleating patterns- straight, curved or zig zag.
Obj. 2: SWBAT measure, trim, score, fold and adhere all pieces properly and precisely, so that it
functions as intended.
QUESTION: “Measure twice, cut once”, “practice makes perfect”- These phrases are essential to
keep in mind when building a sculpture. Without properly measuring, trimming, scoring,
folding or adhering, how might the final result affect the overall experience of the viewer?
Suggested Activities:
A. Students will practice scoring, creasing, and gluing paper.
B. Students will create miniature models of intended book structures, such as accordion,
triangle, and flag.
C. Students will build perfect cubes and polyhedrons out of paper or cardstock.
Obj. 3: SWBAT create a 3-dimensional sculpture using a 2-dimensional medium- paper.
QUESTION: How does a 3-dimensional paper or book piece engage the viewer? Think about the
intended function, content and overall aesthetics (including all design elements and principles).
The issue of copyright will be discussed in all book creations that contain images and writing.
Suggested Activities:
A. Create an Accordion Book containing personal content in each, such as their favorite
places, trips, hobbies, etc. The content must be a mixture of illustrations (photos,
drawings, e.g.) and writings. Overlapping of writing and imagery will be explored.
B. Create a Flag Book based on a period in Art History. Students will create the books
as if they were an artist working in that period. The overall structure will be the
same- flag book- but the content will be unique for each student.
C. Create a Pie Piece Triangle Book containing a photograph of a personal object they
shot in class, accompanied by a self-written story about the object. The book, when
opened up completely, reveals one unified image, but page by page reveals only
portions of the image.
D. Cube Composition- Create a complex 3 dimensional compostion made out of
different sized cubes intersecting and connected to one other. Emphasis is on balance
and positive/negative space.
E. Variation of the Cube- Build a perfect cube and modify it by creating an opening in
each side (cutting a shape out each side), revealing its center and making an open
form.
Unit 3: Wire (3-4 weeks)
Obj. 1: SWBAT use all tools and wire properly, and be able to join pieces of wire together neatly.
QUESTION: How does the element of line in a sculpture enhance or detract from the overall
sculpture?
Suggested Activities:
A. Create a small scale closed geometric form out of multiple pieces of scrap wire.
B. Use one piece of wire to create a Constructivist-based small sculpture to practice
curving and bending.
Obj. 2: SWBAT create an armature sculpture that is realistic and properly proportioned.
QUESTION: What is contour and how is it applied to a wire form?
Suggested Activities:
A. Understand the contour of forms by learning and practicing contour drawingPhotograph students from various angles and print images for reference. Draw
contour lines directly on top of the photo.
B. Research and print other subjects from internet, repeating the contour drawing
activity from above.
C. Review information packet on proper proportions of the human figure.
Obj. 3: SWBAT build a free-standing wire sculpture.
QUESTION: What techniques will be used to make the sculpture work well aesthetically,
compositionally and technically?
Suggested Activities:
A. Create sculpture of a human figure using photos of other students as reference.
B. Create sculpture of an animal figure using photos from internet as reference.
Obj. 4: SWBAT give the sculpture an appearance of weight by creating a sufficient amount of
surface area, planes and volume.
QUESTION: How will you apply the wire so that there is an appearance of weight within your
sculpture?
Suggested Activities:
A. Use the grid method of applying the planes of wire.
B. Create a loose gesture of the subject with the wire and then wrap wire around to flesh
out the sculpture.
Unit 4: Subtractive Form (4-5 weeks)
Obj. 1: SWBAT gain an understanding of “non-objective” and “abstract” sculptures.
QUESTION: What is the difference between realism and abstraction?
Suggested Activities:
Analyze works of Henry Moore, Barbara Hepworth, Jacques Lipchitz and Constantin
Brancusi. Discuss the sculptors’ choice of form over content.
Obj. 3: SWBAT work with material properly and safely, utilizing all tools and protective gear
supplied to them.
QUESTION:?
Suggested Activities:
A. Practice using all tools on scrap material. Emphasize safety when using sharp tools
by working away, never toward, by using benchhooks and shields. Provide safetly
goggles, mask and gloves where needed.
B. Complete a practice carving using a bar of soap.
Obj. 2: SWBAT create a non-objective and organic sculpture by carving away material, creating
diverse positive and negative spaces within the piece.
QUESTION:?
Suggested Activities:
A. Carve a soapstone sculpture using a photo of an organic subject, such as a human
figure, as a loose reference. Form must emphasize curves, have an interior and be
smooth
B. Carve a wood sculpture using a photo as a reference. Encourage sharp texture, lines
and shape.
Unit 5: Clay (3-5 weeks)
Obj. 1: SWBAT learn the origin of using clay as functional and art pieces.
QUESTION: When did humans begin using clay? How did they use it? What is its purpose
today?
Suggested Activities:
Complete a cooperative internet activity finding the earliest uses of clay, how its purpose
evolved over time and what its place is in today’s world where more contemporary
materials and methods are used.
Obj. 2: SWBAT learn how to mold and manipulate the medium of clay.
QUESTION: Compare and contrast all of the qualities and characterisitcs of the media worked
with thus far. What is clay most similar to? How can working with the other media help with
your clay experience?
Suggested Activities:
A. Practice working with clay by forming various geometric forms, smoothing and
texturing clay, hollowing out, pinching, coiling and slab rolling.
B. Practice joining pieces of clay together by scoring and adding slip.
C. Create a personal flow chart of the process of creating ceramics pieces.
Obj. 3: SWBAT make a functional and properly built piece using various clay techniques.
QUESTION: What is the difference between functional and non-functional art? Can functional
art be visually interesting? How?
Suggested Activities:
A. Create a pinch pot/vase, adding decorative surface texture and details.
B. Create a coiled pot/vase, keeping the line element of coils or smoothing it out.
C. Create a slab vessel, whose form includes movement.
D. Build a piece around another form and add on with other functional and decorative
elements.
E. Create a complex coiled open vase.
B. Create a set of tiles unified with varying relief designs.
Obj. 4: SWBAT learn how to paint with glazes.
QUESTION: How can completely change the way an art piece is experienced?
Suggested Activities:
A. Cooperative Color Exercise- Student groups will all be given same pattern to color in
(using paper and markers), but will each be given different color themes. Discussion will
follow regarding the different feelings that are evoked from the varying themes.
B. Cooperative Decorative Exercise- Similar exercise as above, however the students will be
given different design moods they are to emulate, using a blank space on white paper and
colored markers.
C. Plan out ideas for painting glazes onto pieces by photographing and printing their piece.
Then painting directly on top of the print out.
D. Similar to above, except students may use Adobe digital software to plan out their
painting design on computer.
V. STRATEGIES
1.
2.
3.
4.
5.
6.
Teacher demonstrations
Guided practice
Independent studio projects
Class discussions & critiques
Cooperative learning
Reading/researching artists & movements in art history
7. Multi-media presentations
VI. EVALUATION
Evaluations and assessments allow a teacher to analyze his/her students’ present levels of knowledge,
skill and understanding of the visual arts; its content, processes, techniques and meanings. This process
assesses the individual’s growth and development as a student and an artist. Grades are a means of
communication with students and parents - letting them know what is expected in the course and where
they stand in relation to achieving those expectations. Evaluations, critiques and grades should be seen
as a means to expand one’s growth, not a goal. Grades should not interfere with spontaneity and
experimentation. Emphasis should be placed on the intrinsic reward of the art process, not on using
grades as rewards. Rather, evaluations should be used to reveal progress to the student and help the
teacher guide them to further growth. As art is a fluid and ever changing activity with different types of
objectives and outcomes, it demands different evaluative techniques or combinations of techniques. The
following areas are all to be considered when engaging in the process of evaluation or assessment::
Knowledge: Can students articulate, in writing or verbally, concepts or facts using the correct
visual arts terminology?
Skill: Does the student demonstrate a mastery of the media and techniques in the way he/she
creates his/her artworks? Is the student able to employ certain effects in a new and novel way?
Work Habits/Attitude: Is the student committed to his/her work? Does he/she work diligently?
Does the student contribute to a positive classroom environment? Does the student create
artwork that represents his/her absolute best effort?
Growth: Has the student grown as an artist in the course? Does the student internalize and
implement revisions based on constructive criticism from both the instructor and peers?
METHODS OF EVALUATION & ASSESSMENT
Observation - The instructor can observe the student at work to assess his/her confidence, selfreliance, ability to work collaboratively, attitude, application of knowledge, commitment to the task,
skill, and work habits.
Individual Critiques - This kind of dialogue between the instructor and the student allows the
instructor to assess the student’s intentions and compare it with the possible results. This process allows
the instructor to give the student feedback before the project is completed allowing the student the
opportunity to make changes. Through one-on-one discussion, the instructor can assess the student’s
ability to verbally communicate information about their artwork in a coherent and logical manner. This
process is important as it allows the teacher to have a clear idea of the student’s needs, strengths and
weaknesses.
Portfolio Assessment - This can be a series of reflective activities that encourage students and
teachers to compare and contrast a sequence of works. This encourages recognition of the evaluation of a
student’s work over time. Whenever possible this type of review is recommended.
Written Evaluations - Students will have the opportunity to write critiques of their own work and
the work of their peers using the appropriate visual arts terminology. Students will also have the
opportunity to write critiques of works generated by professional artists.
Group Critiques - This involves a class discussion of an assignment or project upon its
completion. This process is invaluable because it allows the student to see their work in the context of the
entire class. An important goal in this process is to build a sense of community and build collaborative
relationships between student artists. The students will review the problem (assignment), discuss possible
solutions (brainstorming), discuss why a particular solution was chosen (intention), discuss if design
decisions were successful (achievement of objectives), discuss any revisions that could be made
(improvement), discuss what each student would do differently (reflect on lessons learned).
Behavior Assessment - This involves both the instructor and the students identifying and
demonstrating behaviors that reflect a feeling for the dignity and worth of other people, including those
of other ethnic, cultural, linguistic and economic groups.
Self/Peer Evaluation - Rubrics will be used to enable students to evaluate themselves and others
during the process of completing a project . Rubrics will also provide students with and understanding of
their strengths and weaknesses.
VII. SUGGESTED INSTRUCTIONAL RESOURCES
Principles of Three-Dimensional Design, Stephen Luecking, Prentice Hall
Understanding Three Dimensions, Jonathan Block and Jerry Leisure, Prentice Hall
Art in the Round, Harold Stevens, Reinhold Book Corporation
Sculpture as Experience, Judith Peck, Krause Publications
The Art of 3D Design, Louis Wolchonok, Harper & Brothers Publishers
Sculpture in Paper, Nicholas Roukes, Davis Publications
Sculptural Bookmaking, Ann Ayers and Ellen McMillan, Davis Publications
Creative Metal Design, Ullrich/Klante, Reinhold Publishing
Wire Sculpture and Other Three Dimensional Construction, Gerald F. Brommer, Davis Publications
Sculpting Clay, Leon I. Nigrosh, Davis Publications
Clay Modeling for Everyone, Edited by Peter D. Johnson, Search Press
The Encyclopedia of Sculpture Techniques, John Mills, Watson Guptill Publications
VIII. SCOPE AND SEQUENCE:
The Units and Objectives are intended to provide the instructor with guidelines and parameters as they
deliver the curriculum for this course. The time allocated for each Unit of Study is expressed as a
variable ie: (3 - 4 weeks) or (3 – 5 weeks). This flexibility has been designed into this course to allow each
instructor to adapt the curriculum to the needs of the learners. It is also intended to allow the instructor
to adjust for varying time needed for certain studio projects. The “Suggested Activities” listed under each
Unit of Study are intended inspirational examples that demonstrate how an instructor might accomplish
a given objective. The “Suggested Activities” are not intended to be a limiting framework. Each
instructor is encouraged to use their creativity to develop projects that accomplish the objectives for each
Unit of Study.
Unit 1: Movement and Composition in Sculpture (3-5 weeks)
Unit 2: Sculpting with Paper (3-5 weeks)
Unit 3: Wire (3-4 weeks)
Unit 4: Subtractive Form (4-5 weeks)
Unit 5: Clay (3-5 weeks)