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|Title: ||Painting technical construction: tips for a studio artist.|
|Authors: ||Banadda, Godfrey|
Art and painting
|Issue Date: ||2011 |
|Abstract: ||This book came into being as a result of my inquiry into the nature of forces that invisibly run and traverse through the format upon which a painting is registered.
Many learners of the skill of painting who include informally trained artists, students both in secondary schools and art colleges, are seldom conscious of the dynamism of forces imbedded within the three and two dimensional works of art they venture to create.
The most explicit tendency in their mental processes as they execute works of art, is more often the physical metamorphosis of the idea onto the format or in space, other than a focus on the dynamism of the forces running through it.
This venture attempts to unveil the subcutaneous, silent but salient juxtapositions of forces of form, content drifts with subject matter; as derived from the patterns drawn by the creative mental processes of man.
Just like how an architect plans for his buildings and knows how their walls will assume particular shapes and projections in space, lay out and movements on the ground, every artist and painters in particular, should always know that great consideration should be given to the planning process of their paintings. This work is anticipated to go a long way in paving an awareness to every painter of the existence of a flow of forces that lie underneath the two dimensional surface of paint, or within the projections made by a three dimensional structure in space. For example, in respect of sculpture; architecture and ceramics.
Account should also be taken of the fact that; ranging from prehistoric cave art to even the so called primitive arts of painting; sculpture and drawing, there exists a respective mode of forces invisibly dynamic under the layers of paint; within the movements of form, either orthographically or isometrically.
At a glance, this study may give the impression of having a constructional bias towards the tendencies of modern art and constructivism.
To tone down this tendency, a sandwich approach was administered during the execution process of content in the samples of plates presented. All subject matter was constructed with a consciousness of the possible structure and patterns taken by the flow of forces within the format or between the surface and medium used; and as suggested by form. Both realistic and abstract figures were used. However, the content within most of the pictures presented is largely abstract.
The pictures are not chronologically arranged. Each one is presented and analysed in terms of the forces that are related or run through it.
However, the pictures together with their illustrations have been arranged in distinct categories.
Where pictures demonstrating a uniform, composite or related pattern of forces, have been grouped and made to follow after each other until a new category emerges.|
|Description: ||The Paper/Book is meant to guide Students undertaking a course in painting and help them discover how involved they have to be in planning for their paintings, if the works they do are to be both aesthetically and technically viable.
The authors says that “The organizational and planning process for a successful picture should be related to the rules of the “golden section”; also referred to as the “golden mean” or “Fibonacci sequence”, all aspects and principles of pictorial and compositional planning, the visual elements; like: line, colour, value, time, space, texture, mass, volume, light and shadow (chiaroscuro), and motion”.
In a nut shell therefore the paper provides technical guidelines to painters.|
|Appears in Collections:||Research Articles (SIFA)|
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