Graphics Reference
In-Depth Information
The Golden Section
A proportional system first implemented in a design context by the Greek
sculptors and architects Phidias and Ictinus, the Golden Section focuses on the relationship of a
square and a rectangle. Drawing a diagonal line from the square's upper left corner to the midpoint
of the bottom side—and then swinging it upward so that it is in line with that side—determines the
width of a rectangle that is built off the square as a base. Oddly enough, dividing this new rectan-
gular area by the width of its short side creates a new square and rectangle in the same proportions
as the original square and rectangle. Dividing each new rectangle in the same way produces the
same relationship over and over again in decreasing size. By connecting the corners of the squares
with circular arcs, the spiral that is present in the formation of nautilus shells is magically revealed.
Seeing Is Believing
What is the result of all this form and space interacting? At this
most fundamental level, the result is meaning. Abstract forms carry meaning because
they are recognizably different from each other—whether line, dot, or plane (and, spe-
cifically, what kind of plane). As a beginning point in trying to understand what it's
seeing, the mind makes comparisons between forms to see how they are different and
whether this is important. Forms with similar shapes or sizes are linked by the mind as
being related; if one form among a group is different, it must be unrelated, and the mind
takes note.
