About the three-dimensional composition of environmental protection

The three-dimensional composition originated from one of the Bauhaus basic education systems and has been developed for more than 90 years. Today, basic art and design courses around the world still use the Bauhaus system. With the continuous advancement of science and technology, computer-assisted art design has become the mainstream, and traditional handicraft technology can no longer adapt to the development of the times; Kandinsky was born before the establishment of the Bauhaus. It was predicted at the beginning, he said: "The art of the future must be a synthesis of multiple media, and will no longer be the expression of a single media." Facts have proved that Kandinsky was prescient. Modern art and design education has become a diversified landscape with diverse educational methods. Computer design has become mainstream. However, modern three-dimensional composition courses still use traditional handicraft techniques, which has many disadvantages. To develop, it is necessary to rely on the power of science and technology and the use of new media.

Three-dimensional composition is a multi-dimensional art. It is a process of using various basic materials to create new forms with a sense of vitality in accordance with the principle of beauty. Due to the particularity of three-dimensional composition, I found that there are many problems during the class. Perhaps these problems are problems in a specific era. Today's students lack spirituality when taking three-dimensional composition classes, which are mainly reflected in:

1. Students are not interested in traditional handicrafts. The processing of materials is hard and tiring work, and students are unwilling to do it in depth. The work made by the guide is rough in workmanship, which affects the overall effect of the work.

2. Students lack the exploration of new materials. With the advancement of science, various new materials have been used in various fields, including artistic creation; but when our students do three-dimensional composition homework, they still stay on the application of general materials and are unwilling to do more research on new materials; can Proper use of new materials for three-dimensional composition work is the key to achieving good results. During the course of the class, there was a phenomenon: when the class entered the second week, all the students in the class failed to produce the ideal work. The reason is that the materials used by students are all common and similar; I once again emphasize the need to explore new materials. The course entered the third week, and I finally saw a good work. It was the only effective work in the class. It was made by a student using a modern and popular new material-aluminum plastic material. In the end, the students all I followed suit every step of the way and worked hard to dig out new materials. As people's aesthetic level continues to improve, the requirements for artistic design no longer simply focus on the visual beauty of artistic forms, but also consider the use of materials, because materials are closely related to environmental protection.

3. Student works lack a sense of vitality and space. Bauhaus teacher Klee believed that all complex organic forms evolved from simple basic forms. If you want to master complex natural forms, the key is to understand the process of natural form formation and at the same time give the natural form a sense of vitality. To create a three-dimensional form, we must first give it design ideas and give it life, so that it can have beauty and conform to people's aesthetic taste. However, the works produced by our students did not achieve this effect. The works seemed to lack positive spiritual support. In addition, students' ability to deal with the spatial relationship of works is not good, students' three-dimensional concept is not strong, and their spatial imagination is weak. In classroom teaching, it is found that students often make the same mistake, that is, they often place two or more basic forms on a horizontal line. I often remind them that if several basic forms are on the same horizontal line and lack spatial relationship, how can it be effective? I gave a demonstration, dislocating two basic forms, and then placing the other two basic forms on a horizontal line, and then compared them. After the students saw it, they gradually understood it, indicating that they had an understanding of space.

4. Students lack the concept of time and space. The modern concept of time and space is no longer simply a three-dimensional space. People have regarded time as the continuation of space and the span of life. A good three-dimensional composition can make people have broad associations after seeing it, and this association is not limited by time and space. It is a spiritual satisfaction that originates from life but is higher than life. However, our students' works are far from reaching this stage, and we need to continuously train students' concepts of time and space in future courses.

In order to change the shortcomings of traditional teaching methods and adapt art and design education to the development of the new era, I think that modern three-dimensional composition classroom teaching should break through the tradition and make some new attempts. The so-called new attempt is that the classroom teaching of three-dimensional composition should use a combination of computer operation and handicrafts; just like decoration, first use the computer to make a rendering, and then carry out construction according to the rendering. In classroom teaching, students are first allowed to use computers to express their creativity, that is, to create new forms, and then determine the material expression of the new forms. They can also determine light, color, potential, etc. In this way, students do not have to blindly search for materials to complete a three-dimensional composition like the traditional method. The materials found may not be suitable for their own use, and then make do with the finished product. This process wastes students' time. If students use computers to design, they can change the design they are not satisfied with at will, including form, color, material, light, momentum, space, etc. Students can continue to improve various design elements until they are satisfied; then students follow the computer renderings , began to search for materials purposefully, and began to process and produce. In this way, students' learning interest and learning efficiency can be improved.

In classroom teaching, students use computers for design, which can save time on handicrafts and create more new forms, improving their creative awareness.

Of course, this kind of teaching method will increase the intensity of students' learning; while students are learning theory, they must also work hard to learn computer design software. Only by mastering the operation of the software can they be able to apply it freely to create new forms.

In the twentieth century, in the age of technology and digital, only by correctly and appropriately relying on the power of science and technology can basic art and design education adapt to the development of the times and cultivate talents that the times demand.