This document provides an introduction to landscape sculpture, including definitions, fundamentals, design principles, and different types of sculpture. It discusses form, content, and technique as the three fundamentals of sculpture. Key design principles covered include proportion, repetition, articulation, focal area, and balance. Different types of sculpture described include relief, free-standing, kinetic, and assemblage sculptures. The document also discusses positioning and siting sculptures in gardens, including considerations for height, plinths, lawns, space, perspective, scale, light and shade, and color.

1. LANDSCAPE DESIGN
SCULPTURE
PRESENTED TO:
AR ANSHU DADHWAL

2. INTRODUCTION TO
SCULPTURE
A BRIEF HISTORY

3. SCULPTURE IS DEFINED, IT IS MORE
THAN JUST A THREE DIMENSIONAL
OBJECT.
3 FUNDAMENTALS MUST BE PRESENT:
•Form: The configuration the idea takes whether recognizable or
not that demonstrates skillful use of elements and principles.
•Content: The emotion, passion or message the sculptor intends
to convey and how the viewer interacts with the piece.
•Technique: The sculptor’s ability to effectively use materials
and tools. Craftsmanship.

4. FORM CONTENT
TECHNIQUE

5. DESIGN PRINCIPLES
 Proportion – relative relationship of shapes to one another

6.  REPETITION – Rhythm, harmony, variation
WHENEVER YOU HAVE AN ELEMENT THAT OCCURS MULTIPLE TIMES
DESIGN PRINCIPLES

7.  ARTICULATION–
• articulation is how the
different parts of the
sculpture seem to be joined
together
• Manner by which we move
from one element to the next
(how the artist has repeated,
varied, harmonized, &
related its parts and the
movement from one part to
DESIGN PRINCIPLES

8.  FOCAL AREA
Sculptors, like painters
or any other visual
artists, must concern
themselves with
drawing our eye to
those areas of their
work that are central to
what they wish to
communicate.
DESIGN PRINCIPLES

9.  BALANCE – Biomorphic / geometric forms
ASYMMETRICAL BALANCESYMMETRICAL BALANCE
DESIGN PRINCIPLES

10. DIFFERENT TYPES OF
SCULPTURE

11. DIFFERENT TYPES OF SCULPTURE
RELIEF OR RELIEVO
- is a sculptural technique. the term relief is from the latin verb levo, to
raise. to create a sculpture in relief is to give the impression that the
sculpted material has been raised above the background plane.
BAS-RELIEF OR LOW RELIEF HIGH RELIEF

12. DIFFERENT TYPES OF SCULPTURE
SUNK RELIEF
- sunk or sunken relief is largely
restricted to the art of ancient Egypt.
COUNTER RELIEF
sunk relief technique is not to be confused
with "counter-relief" or intaglio as seen on
engraved gem seals — where an image is
fully modelled in a "negative" manner. the
image goes into the surface, so that when
impressed on wax it gives an impression in
normal relief.

13. DIFFERENT TYPES OF SCULPTURE
FREE STANDING SCULPTURE
- also known as sculpture in-
the-round, likely represents the
form of sculpture most
recognizable to modern
people.
- is any work of sculpture
which can be viewed from any
angle around the pedestal. this
kind of sculpture includes
some of the most famous
works of sculpture throughout
time: the statuary works of the
greek, roman, medieval and
classical eras, including
michaelangelo's david.

14. FREE STANDING SCULPTURE

15. DIFFERENT TYPES OF SCULPTURE
KINETIC SCULPTURE
- is free-standing
sculpture that moves,
either by mechanical
power or under the
power of wind or
water. fountains are a
form of kinetic
sculpture, although in
that special case the
sculpture is not
powered by the water
but lives within the
shapes and forms of
the water as it arcs
over and through the
air.

16. DIFFERENT TYPES OF SCULPTURE
ASSEMBLAGE SCULPTURE
-another more modern form of sculpture
is known as assemblage sculpture,
which is sculpture pieced together from
found or scavenged items that have little
or no relationship to one another.
-Assemblage art is "non-traditional
sculpture, made from re-combining
found objects.
-Some of these objects are junk from the
streets." these pieced-together bits of
castoff debris are arranged in an
aesthetically pleasing shape to the artist
and then presented to its audiences to
provoke thought and reaction.

17. SCULPTURAL ART ELEMENTS
NEGATIVE SPACE
COLOR
MASS (LITERAL)

18. SCULPTURAL ART ELEMENTS
TEXTURE

19. GARDEN SCULPTURE
Outdoor sculpture cannot be
viewed as separate from its
surrounding environment. In this
respect, when chosen carefully
and sited sympathetically, a
garden sculpture can enhance a
garden and give emphasis to
design and plantings throughout
the year.

20. GARDEN SCULPTURE
THEMES AND FEELING – WHICH SCULPTURE IN WHICH GARDEN
From this sketchy history, one
can begin to discover a pattern
evolving in contemporary
sculpture sited in private gardens
or sculpture parks:
1.The sculpture can be the
protagonist and focus of a
garden, with the garden serving
as a suitable stage to present it
to its best advantage;
2.the sculpture is an equal
partner with the garden,
contributing towards its
appearance together with plants,
paths, hedges or flowerbeds;
3.the garden is the sculpture

21. GARDEN SCULPTURE
POSITIONING THE SCULPTURE IN THE GARDEN
HIEGHT
• The height of a sculpture,
in relation to the eye-level
of the viewer, and of the
height of other plants and
sculptures is a crucial
aspect of siting.
• Obviously this cannot be
perfectly controlled, as
the eye level varies
depending on body height
(between 1.40 and
1.80m), and changes with
the laws of perspective as
you approach the work.
Looking up at a sculpture
Looking straight at it, eye to eye
Looking down produces an element of discovery

22. GARDEN SCULPTURE
POSITIONING THE SCULPTURE IN THE GARDEN
PLINTH
• A plinth provides the
practical means to
regulate height of a
sculpture, and can be
fabricated from wood,
metal, or stone.
• There are solid plinths ,
made from wood or
stone, or more fine and
less visually intrusive
supports made from
steel.

23. If the sculpture rests
on the grass, it gives
a more casual
impression:
symbolically, the
sculpture shares the
same ground as
humans, animals and
garden; it grows from
the earth that also
nurtures the
vegetation
GARDEN SCULPTURE
POSITIONING THE SCULPTURE IN THE GARDEN
LAWN

24. GARDEN SCULPTURE
SPACE AND PERSPECTIVE
Manipulating closeness and
distance to the sculpture through
garden design is an important tool in
controlling the viewer’s experience
of it. The impact of a sculpture is
made up of all the different views
onto it, varying in angles and
distance.

25. GARDEN SCULPTURE
SCALE
• Chosing the right position is really a matter of
scale :the smallest sculpture suitable for the
outdoors might be 50 cm high, on a plinth in a
narrow courtyard or the above mentioned “green
caves”.
• Larger or even monumental sculptures need
more space.
• As the size increases, the location escalates
from open lawns, still protected and enclosed by
trees

26. GARDEN SCULPTURE
FRONTAL OR ROUND STYLE – (IN)FORMAL
Formal gardens
often surround
historic buildings,
and involve box
hedges, straight
flower borders,
steps, terraces,
walls and shingled,
often straight paths.
This issue of space
relates to how a
sculpture can be
viewed: either
frontally or in the
round – in the
pictorial or sculptural
mode.

27. GARDEN SCULPTURE
FOCUS SURFACE – TEXTURE AND PATTERN
Garden designers often use a sculpture as a
focal point.
A focus slows down the journey through the
garden by stopping and directing the gaze,
as well as the feet traversing through its
expanse. The garden is slowly discovered
rather than swept through superficially; this
enlarges the garden,
• Texture – the surface material quality
– is a crucial aesthetic dimension of
both garden design and sculpture. It is
explored through touch, but also
visually:
• Texture in relation to sculpture varies
depending on material, and the use of
tools

28. GARDEN SCULPTURE
LIGHT AND SHADE
• sculpture above is divided into shaded
and sunlit areas, in places quite
randomly against the grain of the form.
• Other shadows just simply swallow the
form, and render it invisible and flat.
• The overall impression is of a figure part
clearly and three dimensionally
perceived, part merged with its dark
background

29. GARDEN SCULPTURE
COLOUR
Colour in sculpture and plants is yet
another means of manipulating the
space, and directing the visitors
attention: depth can be created, or
flatness simulated.
Warm colours like reds, yellows and
oranges seem to advance and can
make an object seem closer to you.
Cool colours like greens and blues
seem to move away .
Complementary colours attract one
another (red to green, blue to orange,
yellow to purple), and attention from
the viewer. Bright colours stand out
against more grey or toned down
colours.

30. THANKYOU!
PRESENTED BY :-
10610, 10634,11617, 11631, 11639
NIT HAMIRPUR (H.P.)