De Stijl Philosophy Of Modeling
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De Stijl Philosophy Of Modeling
The De Stijl philosophy of modeling is a design movement that originated in the Netherlands in the early 20th century. It was founded by a group of artists and designers who sought to create a new visual language that would reflect the modern age. The movement was characterized by its use of geometric forms, primary colors, and a strict adherence to a grid system. The De Stijl philosophy of modeling was not limited to visual arts, but also extended to architecture, furniture design, and even typography. One of the key aspects of the De Stijl philosophy of modeling was its emphasis on simplicity and clarity. The movement sought to eliminate all unnecessary elements in design, creating works that were stripped down to their essential forms. This approach was informed by the belief that art and design should serve a social purpose, and that the clarity of form would help to communicate ideas more effectively. Another important aspect of the De Stijl philosophy of modeling was its use of color. The movement favored primary colors – red, blue, and yellow – as well as black and white. These colors were used in a precise and systematic way, often in combination with geometric forms, to create a sense of harmony and balance. The De Stijl philosophy of modeling was also characterized by its use of a grid system. This system was used to organize space and create a sense of order and structure in design. The grid was seen as a universal language that could be used to create works that were both functional and aesthetically pleasing. Overall, the De Stijl philosophy of modeling was a revolutionary movement that had a profound influence on modern design. Its emphasis on simplicity, clarity, and order helped to shape the visual language of the 20th century and beyond.
De Stijl, design movement, geometric forms, primary colors, grid system, simplicity, clarity, social purpose, harmony, balance, universal language, modern design
De Stijl philosophy of modeling
De Stijl understood the form from a new perspective, and the results of his experiments had a profound influence on graphic design and typography between the two world wars. By observing the typographic arrangement of the two world wars, we can discover de Stijl's philosophy of form, which insisted on a harmonious equilibrium between the two world wars. De Stijl's equilibrium relation is a new consciousness of modeling. Mondrian describes this consciousness as follows The new spirit thus destroys the limited forms of aesthetic expression and reestablishes a balanced expression of the subjective and the objective, of the containing and the contained, of a balanced duality of the individual and the universal, and through this duality in variety a purely aesthetic relationship is achieved. This duality in diversity achieves a purely aesthetic relationship. The limitation of aesthetic expression is the copying of natural forms. In the reproduction of natural forms, the essence of the natural form is not understood, individual or subjective consciousness prevails, and as a result, it is no longer established in an equilibrium relationship. This equilibrium relationship is necessary for aesthetic emphasis. Aesthetic emphasis is related to aesthetic experience. With regard to aesthetic experience, art is thus an expression that responds to our purely aesthetic experience of reality. Reality experience means that as long as we are alive, we are experiencing the environment around us in an unconscious way. And when we want to actively embody this experience of reality, plastic expression is born. Doucebruch explains how de Stijl expresses the equilibrium relation of form as follows. The more the naturalness of the object of experience disappears in the aesthetic experience, the stronger the aesthetic experience becomes. In other words, for the plastic artist, the heifer ceases to be an animal, a food or a commodity, in other words, it ceases to be an animal in its natural state and becomes a complex with a plastic and aesthetic emphasis in terms of color and form, contrast, tension, etc. But since for the artist his experience is essentially holistic, everything is equivalent in terms of relationships in the figurative view. The essence of the natural object is the relationship between color and form. This is the result of analyzing and reducing natural objects. It is precisely because there is an awareness that the natural object is a complex of elements that the possibility of composition emerges and new forms are formed. In this view, individual and objective consciousness are equivalent, and a relationship of balanced duality is established. This balanced duality of formative means is the core of de Stijl's formative philosophy.
De Stijl
— Qiuyu Li
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