Almost all the factors we have considered so far hold true for three dimension as well. Although the factors remain the same, their treatment in two and three dimension differ to a degree.
In working with two dimensional patterns we need be concerned with only one relationship to the observer. The design has a single face, so to speak. This is an enormous help. All our problems can be solved in one frame of reference.
That is no longer true when we project our patterns into actual space. To compose our form, we have to consider it from all around. The same thing is true for an observer. He cannot understand or appreciate the form without looking at it from all the sides. This means one very important thing that we are dealing not with one static system of relationships, but with a series of systems of interlocking relationships. Of course, there is one fundamental system. Objectively it is the design. But this one composition has May different aspects, all of which must be composed in themselves. More than that each view must lead us on into the next. Unlike the two-dimensional composition, which must stay within its format, the three-dimensional composition fails, however effective one view may be, if it does not lead us on to explore its shifting relationships. This is a challenging problem. The sensitivity and understanding we have been developing must be extended to this new system of relationships.
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