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Course Syllabus

Hands-On Sacred Geometry

Instructor: Dorothy Tod

Course Description

Students will bring geometry to life. Using only a compass, a straight-edge and colored pencils we will explore how the underlying harmonies of nature are not arbitrary, but practical and functional embodiments of a creative process that is striving for balance, harmony, and wholeness. There is an elegant beauty and efficiency in all of this, and nature's hidden patterns of sharing are embodied in the outward expressions of form--how the same ratios underlie the patterns of the human skeletal system and the unfolding growth of embryo, how the Fibonacci Series and Golden Section work in architecture and nature, how to use Root Rectangles, Phi spirals, and Platonic Solids. And all of this is accomplished with no mathematical formulas or daunting technicalities!

 

For everyone interested in the universal patterns which connect art, science, and nature — the dynamic patterns which bind us all to the living soul of the world.

 

 

Suggested Reading

Schneider, Michael S: A Beginner's Guide To Constructing the Universe: The Mathematical Archetypes of Nature, Art and Science

Lawlor, Robert: Sacred Geometry: Philosophy and Practice

 

Materials to Bring

Compass, straight edge and pencil

Colored pencils and nice drawing paper/notebook 11x 14 works well

 

Class Schedule

The class begins Saturday morning at 9:00 am with a welcome and orientation to Yestermorrow and runs through 5:00 pm with an hour break for lunch. The class will also run 9-5 on Sunday.

 

Course Outline

Day One

Introductory slide presentation on symbolic number

Hands on work with compass, straight edge and colored pencils to get a feel for the Vesica Piscis as generator of square root of 2, 3, 5 ratios

Hands on projects to get a feel for the Platonic Solids.

Day Two

More compass work --the Golden Proportion and creation of spirals

The afternoon project will consist of the class creating and painting a geometrical pattern on the studio floor if possible .

 


 

 


 

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