Wednesday, 29 February 2012
here is one of the most straightforwardly persuasive draughtsmen I know, Daumier's anti-war blast 'The council of war' 1872. In fact, sorry to stay on the war theme, here is another equally forceful statement in a very different mode, the graphic description of Napoleon's losses during the Russian campaign of 1812, plotted against terrain, time, and temprature. The big fat arrow going right is the army marching east to Moscow, the dwindling arrow pointing left is the ghastly defeated and starving army trying to get back home in the winter. This is one of the first uses of graphic display, and showcased in Edward Tufte's book on Visual Communications. Evidently,Minard is one of Tufte's heroes, with reason. Look at Tufte's book if you want a glimpse at the poetry of railway timetabling!
Tuesday, 21 February 2012
It’s difficult to make a calibrated and semi-nuanced case in favor of a prominent artist who’s just died. Opinions at tend to fall emphatically either in the direction of praise (Twombly was one of the greatest American artists of the post-World-War-II era) or bah-humbug (Twombly was a late-to-the-game Abstract Expressionist who tarted up comparatively vacuous paintings with references advertising his erudition). For me, the two extremes are both true, but in a way that leaves my estimation of Twombly not in the middle, but way over on the positive side. Though his works seem to resemble doodling, involuntary drawing or a child
practising writing, he introduces painting in the style of ancient graffiti,
scribbled texts, drawings and simple hand exercises.
There’s still something faintly galling about Twombly’s words on canvas, and I probably don’t believe that he misspelled “Ilium” as “Iliam” in the Fifty Days at Iliam permanent gallery at the Philadelphia Museum of Art on purpose because he wanted an “a” to refer to Achilles. Do we really need the words? Do they really add anything, visually, to the work? Do they really evoke anything about their putative subject, beyond simple labeling?
Many people scratch their heads at abstract art and doubt the skills of abstract artists in general, not to mention when the art looks like scribbles. According to The New York Times’ ArtsBeats blog, “…even critics questioned constantly whether Twombly’s work deserved a place at the forefront of 20th-century abstraction, though he lived long enough to see it arrive there.”
Monday, 20 February 2012
As I stated in my first blog post it is the marks and the lack of marks that pull me into a drawing. I feel Morinerie's work encapsulates almost everything that I look for and try to create myself in drawings(at this time anyway).
Wednesday, 8 February 2012
- to visualise thought and work something out.
- to provide a pattern to follow or give instructions how to make something.
- to help clients visualise what is proposed.
- to describe or record something.
- to give pleasure as ends in themselves.
As I recognised the reasons why and what we used drawing for, I considered my own uses for drawing and why I use it in my work.
All jewellery design originates from an inspirational source, whether its a technique or material or visual information from drawing images or objects. By gathering information from a wide range of sources it can spark interest to investigate further. As jewellery is a three-dimensional medium, it is beneficial to study 3-D forms as to aid understanding how form can be expressed and how shapes and lines intersect with one another in relation to each other and within space.
By keeping a sketchbook as a sort of visual diary to record the things you find and particular aspects to be found interesting when working with a project in mind the research takes on a particular direction which may lead to several paths; some may be dead ends, but others can provide inspiration for years to come. Drawing is a vital design tool as it provides a means of exploring and recording ideas in a descriptive medium. A silversmith/jewellery designer may use several types of drawing as part of the design process from sketchbooks to exploratory drawing to detailed technical drawing and final presentation drawing. The method of illustration that is chosen will depend on the particular project and client, but clear communication is the key whatever the style .
My most successful drawing to date within the Silversmithing and Jewellery department at GSA is in the form of Maya, a 3 Dimensional animation software(See above centre). It was used with the help of my friend Saswat Satadaryshi, who is a current student of MDES in Animation at GSA. As my final design was proposed on a larger scale with specific lighting involved. This form of precise animation included all the relevant information, including the scale of the piece. Presentation drawings such as this are most useful when working to commission so that the client can see accurate representations of the piece before it is made. Successful design realization can give a silversmith/jeweller a powerful voice and means of expression. The transition from a two-dimensional drawings to three-dimensional objects can be a challenge, so making models of a piece is a key part of the process, in both technical and aesthetic aspects of designing.
Tuesday, 7 February 2012
44th Wire Piece, 1972
Wire and template for pencil line
47 x 22 x 11 1/4 in.
The Museum of Contemporary Art, Los Angeles
Gift of Lannan Foundation
other artists’ work: what is the manifesto in this drawing, what does the artist or designer aim to manifest in their work? Find and post at least one successful or controversial image and 100-300 words of reflection, analysis and context,
best wishes, Frances I chose this image by August Choisy from 1873, it is an axonometric rendering of a Roman vault from below. On the one hand it aims for strong information content and transparency, one could 'read off' the structure of this vault and reconstruct it from this drawing, because in this convention, every dimension is easy to calculate. Second, it presents a fairly strong triumphant announcement of skill by the artist, he shows he can observe and work out a complex structure and recreate it in detail even from a ruin, and he also announces his ability to re-present that complex information visually. Third, and in contrast to the notion of transparency, this image is very puzzling and atmospheric, it is a view that would not be available from any normal viewpoint, and it presents the building behaving abnormaly, rising up into space, hovering threateningly over the viewer like a thundercloud. I like the kick-ass quality of the drawing, the assertion of skill, and the threat. To me , this draughstman is saying, one little word and I could crush U with this old vault