User:Chen Junyu/Graduation Project Seminar/ project proposal/Proposal5: Difference between revisions

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==Research Question==
==Context==
Rosenberg has redefined art  "art is an act rather than an object, as a process rather than a product”.  
People have found examples of attempts to capture the phenomenon of motion into a still drawing in paleolithic cave painting. The animals in the paintings are usually have multiple legs in superimposed positions to convey the perception of dynamic. The paleolithic cave painting reflect the ancients’ understanding of motion and the desire of recording movement, in addition, it may also hint the consciousness of drawing things lively.
Quoted from ''Drawing'' by Philip Rawson: It(Drawing) seems to have physical presence only as a static object. but its structure in fact is produced by actions carried out in time.  
 
However, from the aspect of appreciating a painting or drawing, it is difficult to truly reach the process of drawing/painting. My research question is base on this phenomenon-- how to make the process of drawing visible?
The generally accepted principle for Chinese painting was written by Hsieh Ho，a writer, art historian and critic in 6th century China, named as The Six Principles of Hsieh Ho. He summarized six sentences to divide the different level of paintings. There are different versions of the interpretation in English of the six principles, and all of them are so contrasting, here I use the translation of Osvald Siren's Early Chinese Painting, which I think it is the closest one to the original version.
 
'''The six principles of Chinese painting:
'''
1) Resonance of the spirit; Movement of Life.
 
2) Bone Manner (i.e. Structural) Use of the Brush.
 
3) Conform with the objects ( to obtain ) their Likeness.
 
4) According to the Species, apply the Colours.
 
5) Plan and Design; Place and Position ( Composition)
 
6) To transmit Models by Drawing.


==Project==
Hsieh Ho points out the “Spirit Resonance” or vitality is the overall energy of a work of art. It means that the lively representation either or both on depicting concrete objects or conveying the spirit of painter and generally a successful drawing should be able to transfer the dynamic atmosphere to the spectators.
The project I write here is more the possible form of the final work. I hand up this as the starting step of the reflect to my research question.  


Project
"This quality of underlying movement is, of course, the special 'charm' of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture."(Philip Rawson, Drawing). It is barely possible for spectators experiencing the "charm" of the dynamic and irreversible process from the final work.
The expected installation would be formed by three parts : a stone container (1 metre long, 40 centimetres wide ) which has a construction that response to the vibration of the environment, it will shake when the vibration reach a certain range. The ink in the stone container, and the projection of a  drawing from the top of the container onto the surface of ink. I will use the material of Chinese ink and rice paper to approach the final drawing. The projection of the drawing should be in the same scale of the original one, and should be available to represent all the details of stroke and the texture of the paper.
The "dynamic" of drawing seems obscure and unreadable. "In appreciating drawings, no less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition. To get it at least one has to look into the drawing carefully to find the order in which its parts were executed...But for thoroughgoing preservation of the qualities of drawing in painting one has to look to the Far East --or to Western 'action' painting based on Far Eastern ideas.” Based on his thought, I started thinking how to use Eastern material or at least as a starting point to experiment how to express the "charm" in the process of drawing.
<br>
[[File:Img002.jpg|150px|left]][[File:Img005.jpg|150px|centre]][[File:Screen Shot 2015-01-13 at 13.22.29.png|300px|right]]
<br>
When visitors walk around the installation, their steps will work on the vibration in environment thus trigger the shaking of the container. The ink should starts waving in the container. The projection of the drawing will move as the wave and change the image projected on the surface.


==Context==
[[File:Mondrian-04blueoriginal.jpg|thumbnail|center]]
The animation is visible dynamic. It is constructed by motions which rely on the phi phenomenon.  Animators create the illusion of moving by drawing frame by frame and try to get the ideal movement to support the narrative. Drawing or painting is different type of art media. They are physically still. We can only read static  information from a drawing or a painting.  But if we think “dynamic” in another way, drawing/painting and animation somehow relate on in a fundamental level.  
In James Elkins's article ''How to look at Mondrian'', he takes example of Mondrian's work "Lozenge" to explain how Mondrian deal with the lines in his painting. By using macro lense, his observation leads to the result -- those vertical and horizontal lines, are not perfect and smooth lines as we usually think. While Mondrian doing his work, sometimes he may only use his hands without any support, to get the subtle shake or waggle presented on his painting.  


People have found examples of attempts to capture the phenomenon of motion into a still drawing in paleolithic cave painting. The animals in the paintings are usually have multiple legs in superimposed  positions to convey the perception of dynamic. The paleolithic cave painting reflect the ancients’ understanding of  motion and the desire of recording movement, in addition, it may also hint the consciousness of drawing things lively. In the Chinese painting theory “The Six principles of Chinese painting”(古画品录) written by art historian Xie He from six centuries, points out the “Spirit Resonance” or vitality is the overall energy of a work of art. It means that the lively representation either or both on depicting concrete objects or conveying the spirit of painter and generally a successful drawing should be able to transfer the dynamic atmosphere to the spectators. If we look at the action drawing, it presents a different meaning of “illusion of moving”. The physical act of painting becomes even more important than the final result of the work. The dynamic here refers to the emphasis of the act of drawing, the process of drawing or “The kinetic basis of drawing”( Philip Rawson, Drawing)
Another example is from Paul Klee, his catchphrase "Taking a line for a walk" seems explain the reason of Mondrian's delicate shaking lines. Quoted from "It's a very fine line" by Laura Cumming, "balancing and orchestrating lines so that they take the eye for a walk through fields of graphic energy."


Compared with animation, the "dynamic" of drawing seems obscure and unreadable. '''"In appreciating drawings, no less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition. To get at these one has to look into the drawing carefully to find the order in which its parts were executed."'''
==Research Question==
'''"This quality of underlying movement is, of course, the special 'charm' of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture."'''(Philip Rawson, ''Drawing'').  It is barely possible for spectators experiencing the "charm" of the dynamic and irreversible process from the final work. But is it possible to make a drawing which it alway keep the nature of "dynamic" visible?
My research question is, How to most effectively present ( and preserve) the vitality of the process of drawing, (here vitality can be related to  Hsieh Ho's first principle of Chinese painting: the resonance of the spirit,the vitality.)


For this project, the image spectators seeing is based on my drawing. While the waving of the ink, the projection of the drawing on the surface would keep changing its image . It is also irreversible. Every moment the current environment generate a new effect on the drawing, thus spectator will receive sequence of image which are reconstructed from my drawing by the dynamic environment. It can be read as the live animation, but in another way, the environment keep overlapping the unexpected strokes(wave) over the latest image. And spectators are also included in the process of drawing. It is the live drawing process which can always captured by viewers who at the same time also play the author of the drawing.
==Prototypes==
{{Youtube|1bWy5vd7OwE}}


==Preview works==
==Preview works==
"How to Draw a Perfect Circle"  
"How to Draw a Perfect Circle"  


Even though it is a work done for the group exhibition, I think it is the related to this project on thinking the relation between drawing and animation, also the usage of ink.
This project is also talking about what is the process of drawing means to us, and also using the fundamental gesture to express it .
{{vimeo|116489227|center}}
<br>{{vimeo|116489227|centre}}<br>


==Prototypes==
==Work Survey==
{{youtube|mR2G4G7Z_lI}}
<br>
<br>
The projector projects the drawing from the top.
Barry Le Va's On Center, ''On Edge Shatter Scatter (1968)''
My first idea is through the wobbling of the surface, trigger the action of "drawing" proceed. But the question confused me now is：leave the act of drawing from me(or whoever drew this drawing, the next step is completed by the environment through the medium of water, can I still call it a "drawing"?
[[File:WATER-1.jpg|700px|frameless|none]]
<br>
<br>
here it is the first prototype of the project. the sketch of the "wooble stone ball".
{{youtube|_IdCr07o4zI}}
[[File:DSC05546.jpg|400px|thumbnail|none]]


==Work Survey==
Gary Kuehn Gesture Project 2011
{{vimeo|72489795}}
<br>
Connecting cross country with a line, 2013 - Olafur Eliasson
<br>


{{vimeo|7915336}}
These two works both interpret "the process" of their work in a visible and obvious way.
The Old Man and the Sea／


==Literature Survey==
==Literature Survey==
Philip Rawson, ''Drawing''
Philip Rawson, ''Drawing''
Fritz van Briessen， ''The Way of the Brush: Painting Techniques of China and Japan
''
James  Elkins, ''Chinese Landscape Painting as Western Art History''
Xie He ''Six principles of Chinese painting 古画品录''


Lu Hong, ''The Formation and Development of New Ink Art in China''  http://www.mplusmatters.hk/inkart/paper_topic2.php?l=en
Lu Hong, ''The Formation and Development of New Ink Art in China''  http://www.mplusmatters.hk/inkart/paper_topic2.php?l=en


Xie He ''Six principles of Chinese painting 古画品录''
Zhu Qi, "Natural and abstract form and the unfinished modernism of Chinese painting"  http://www.artlinkart.com/cn/article/overview/b55cvCso


Charlotte Mullins, ''PAINTING PEOPLE -figure painting today''
Zong baihua,"Thoughts of <A New Account of the Tales of the World> and the beauty of Jin Dynasty"

Latest revision as of 09:20, 10 February 2015

Context

People have found examples of attempts to capture the phenomenon of motion into a still drawing in paleolithic cave painting. The animals in the paintings are usually have multiple legs in superimposed positions to convey the perception of dynamic. The paleolithic cave painting reflect the ancients’ understanding of motion and the desire of recording movement, in addition, it may also hint the consciousness of drawing things lively.

The generally accepted principle for Chinese painting was written by Hsieh Ho，a writer, art historian and critic in 6th century China, named as The Six Principles of Hsieh Ho. He summarized six sentences to divide the different level of paintings. There are different versions of the interpretation in English of the six principles, and all of them are so contrasting, here I use the translation of Osvald Siren's Early Chinese Painting, which I think it is the closest one to the original version.

The six principles of Chinese painting: 1) Resonance of the spirit; Movement of Life.

2) Bone Manner (i.e. Structural) Use of the Brush.

3) Conform with the objects ( to obtain ) their Likeness.

4) According to the Species, apply the Colours.

5) Plan and Design; Place and Position ( Composition)

6) To transmit Models by Drawing.

Hsieh Ho points out the “Spirit Resonance” or vitality is the overall energy of a work of art. It means that the lively representation either or both on depicting concrete objects or conveying the spirit of painter and generally a successful drawing should be able to transfer the dynamic atmosphere to the spectators.

"This quality of underlying movement is, of course, the special 'charm' of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture."(Philip Rawson, Drawing). It is barely possible for spectators experiencing the "charm" of the dynamic and irreversible process from the final work. The "dynamic" of drawing seems obscure and unreadable. "In appreciating drawings, no less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition. To get it at least one has to look into the drawing carefully to find the order in which its parts were executed...But for thoroughgoing preservation of the qualities of drawing in painting one has to look to the Far East --or to Western 'action' painting based on Far Eastern ideas.” Based on his thought, I started thinking how to use Eastern material or at least as a starting point to experiment how to express the "charm" in the process of drawing.

Mondrian-04blueoriginal.jpg

In James Elkins's article How to look at Mondrian, he takes example of Mondrian's work "Lozenge" to explain how Mondrian deal with the lines in his painting. By using macro lense, his observation leads to the result -- those vertical and horizontal lines, are not perfect and smooth lines as we usually think. While Mondrian doing his work, sometimes he may only use his hands without any support, to get the subtle shake or waggle presented on his painting.

Another example is from Paul Klee, his catchphrase "Taking a line for a walk" seems explain the reason of Mondrian's delicate shaking lines. Quoted from "It's a very fine line" by Laura Cumming, "balancing and orchestrating lines so that they take the eye for a walk through fields of graphic energy."

Research Question

My research question is, How to most effectively present ( and preserve) the vitality of the process of drawing, (here vitality can be related to Hsieh Ho's first principle of Chinese painting: the resonance of the spirit,the vitality.)

Prototypes

Preview works

"How to Draw a Perfect Circle"

This project is also talking about what is the process of drawing means to us, and also using the fundamental gesture to express it .

http://vimeo.com/116489227

Work Survey


Barry Le Va's On Center, On Edge Shatter Scatter (1968)

Gary Kuehn Gesture Project 2011

These two works both interpret "the process" of their work in a visible and obvious way.

Literature Survey

Philip Rawson, Drawing

Fritz van Briessen， The Way of the Brush: Painting Techniques of China and Japan

James Elkins, Chinese Landscape Painting as Western Art History

Xie He Six principles of Chinese painting 古画品录

Lu Hong, The Formation and Development of New Ink Art in China http://www.mplusmatters.hk/inkart/paper_topic2.php?l=en

Zhu Qi, "Natural and abstract form and the unfinished modernism of Chinese painting" http://www.artlinkart.com/cn/article/overview/b55cvCso

Zong baihua,"Thoughts of <A New Account of the Tales of the World> and the beauty of Jin Dynasty"

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