Elam, Kimberly. Geometry of Design: Studies in Proportion and Composition. New York: Princeton Architectural, 2001. Print.
See Fibonacci number
Golden section square construction Method p. 24
—- = —–
A C B
“The golden section rectangle is unique in that when subdivided its reciprocal is a smaller proportional rectangle.” p. 25
Golden Section Spiral construction. p. 25
620/377 = 1.61803 Golden Section. p. 29
Golden Section Triangle and Ellipse p. 30
Golden Section Proportion of the Star Pentagram p. 31
Root 2 Rectangle Construction (√2) p. 34
Root 2 Rectangle Construction. Circle Method p. 35
DIN System of Paper Proportioning A1-A5
“Root 2 rectangles possess the special property of being endlessly subdivided by proportionally smaller rectangles. It is for this reason that the root 2 rectangle is the basis for the European DIN (Deutsche Industrie Normen), a system of paper sizes.” p. 36
Root 3 rectangle p. 38
Root 4 Rectangle p. 40.
Le Corbusier: “the composition of of works of art is governed by by rules; these rules may be conscious methods, pointed and subtle, or they may be commonplace rules, tritely applied. They may also be implied by the creative instinct of the artist, a manifestation of an intuitive harmony,” p. 43
See Jules Cheret and Star Pentagram proportions.
See Belle Époque
See Oskar Schlemmer
See East Coast poster by Tom Purvis
Circles aligned in Wagon -Bar Poster by A.M. Cassandre, 1932.
See Die Neue Typographie (1928) by Jan Tschichold
Root 2 rectangles and circles in proportion p. 73
Type construction p. 74
See Max Bill
See Inge Druckrey
See Bruno Monguzzi
Le Corbusier (from Modulor, 1949):
“The regulating lines do not bring in any poetic or lyrical ideas; they do not inspire the theme of the work; they are not creative; they merely establish a balance.” p. 101.
“Biology, geometry, and art are taught as separate subjects. The content area of each that is congruent to the other is often neglected and the student is left to make the connections on their own. In addition, art and design are commonly viewed as intuitive endeavors and expressions of personal inspirations.” p. 101