Welcome to the Golden Section

traditionally we design in a rectangle and that rectangle has a Subterranean geometry it has its own ordered relationships first of all we have a pair of vertical lines and a pair of horizontal lines and where they intersect we're going to call those eyes those are implicit so those eyes relate to one another horizontally and vertically and on the diagonal they divide this in half and if we divide this horizontally to establish an echo of that and vertically to Echo this all of these rectangles have the same proportion as the mother any rectangle that has the same angle of a diagonal is the same proportion so if this measures 1 by 1 and A2 which would be a 1.5 rectangle these measure 1 by one and a half as well and if I continue breaking them down they will continue to divide accordingly so any rectangle that shares the same diagonal will have the same proportions meaning that the shorter will divide into the logger the same number of times there's a system of design called the Golden section in which we have golden section series rectangles and we have root rectangles I'm going to show you one in the seventh lecture we will discuss it at length and in the ninth lecture we will carry on even further but it consists initially of taking a square finding the half and Swinging that down with a compass and establishing a rectangle that has the proportions of just about the pole of nature inherited it I don't know that I I'm I'm going to draw everything slightly distorted because I want to stay out of your way so you can see what I'm doing these calipers are calibrated on the ratio of the whirling squares and if I open this up this way that pretty much does did I do something wrong that pretty much gives us the square and the ratio do you see it if I if I take the diagonal of that and I intersect it at 90° from a corner and I bring that vertical down at that square because that will give us that division again there it is all the bones of my hand are based on that ratio and the rest of nature is so what you have to understand is that early man presumably I wasn't there old I am but not not that old early man must have sat in his unheated cave lacking air condition or room service with meteorites pounding the earth earthquakes stirring up all kinds of Havoc wondering who was running the show and he had to Plate this someone or group of somebody these Gods on some Hill some place so he examined everything in nature everything he could get his hands on he measured and what he discovered was there was a racial proportion ining everything in nature and he assumed presumably that he' decoded the language of his Gods needing the cooperation and the protection of his Gods he built temples based on this ratio he put altars in the temples designed on this ratio he put vessels for Libations on the altar tables based on this Rao when he put Effigies of his gods in his temples they were based on this ratio because the ratio the geometry he employed was in effect a prayer all of maslim art is based on these systems all of African's Secret systems and Mysteries are based on these ratios the Egyptians used it the Assyrians used it the Greeks the Italians the Renaissance everybody used it and yet today while most of the major older artists do employ it and pretend that they don't and we not discuss it and certainly almost none of them will teach it in the schools that our students go to studying younger students are not being taught this and it is in fact the B bis of Western Asian African art you don't put a line down unless you know where you're going to put it in a rectangle you don't put the line down unless you know how long it's going to be you have to know what direction it's going in is it the Baroque is it the is it the Sinister diagonal of the rectangle is it the reci reciprocal there are names and there are terms and there are systems and it'll be my task to teach them to you so all I ask is that you do your very best to fulfill the assignments I will tell you when you do something that's wrong because I understand you're here wishing to improve your work and when you bring your homework in we're going to put on that wall and we affectionally call that wall which has recently been pristinely painted thank you Sarah we call that wall the impaling wall so you'll put your work up and I will proceed to tell you what you've done wrong and all I ask of you because I don't assume you know anything I'm sure many of you know as much or more than I do but I assume that you don't know anything and my responsibility is to teach you unlike some out schools that want to make sure you're talented and then they neglect you my respons ability to start from zero into teach so this is where we're going this is what we're doing and I do require as I said earlier that anyone who wishes to continue studying with me is going to have to take this course twice because the volume of information I'm going to purvey is greater than you can ab absorb understand and develop skills with in nine weeks no one can presume to teach you to draw in nine weeks in 18 weeks we can accomplish a great deal and you've seen the work here you've seen it on the website you've got some idea what students who've studied here have achieved so I'm confident that we've developed something that does work I'm going to show you a sequence of slides which I hope will reveal in an overview what I hope to cover in the next nine weeks so let's see what we can do here

Channel: Myron Barnstone

Views: 676,559

Keywords: golden, section, draw, drawing, design, designing, designer, art, school, learn, artist

Id: MyFp5joAd7s

Length: 8min 12sec (492 seconds)

Published: Mon Oct 06 2008