DOGA COBANOGLU
DOGA COBANOGLU
VISUAL ART
VISUAL ART
Figurative Drawing and Sculpture
Introduction lesson:
When comparing and contrasting the aspects of a painters mind set on what they are creating versus a sculptures mind set on what they are creating - similarities and differences occur. The dominant contrast is the dimension, one creates on colour line pattern so on while the other emphasises on form, light and perspective.
Through using live models in action with various objects around them, the figures were drawn in three phases: robotic with each limb and joint as an object, fast motion with squiggles + shawdowing charcoal and mapped out with the dimensions of the figure.
The constant points were the proportion as labeled in figure 2, the body at times has equal dimensions that we can reference. Along with the seperation of the height in to bits using a lengthen hand, those bits can be set on the page as well. Additionally, the angle of body parts are constant from figure to page. Lastly, each figure drawn has a line of action that can be used to manipulate the figure around it.
Chosen figurative sculpture of figure:
Human Nature series by Willy Verigner 2013 (Colossal, 2013)
https://www.thisiscolossal.com/2013/08/figurative-wood-sculptures-by-willy-verginer/
Foot under tension:
Creating sculpture of foot under tension:
Using previous knowledge the image above was mapped out, sketched with objects and with fast movements to understand the proportion, angles and subject matter to be made in to a sculpture. Pencil and charcoal were used for this task. Tension and muscle areas were highlighted as they are a large component of what will be shown in sculpture.
Sculpture was made out of cardboard, tape and water based tape. Cardboard was broken down in to layers then bent, layered and formed in to shapes hollow in the middle to make the sculpture. Tension areas were layered and brought attention to.
WWW:
Mapping out sculpture to be created beforehand, thus there is base knowledge on where to begin.
Using the layers of cardboard, gave texture such as ruffles in addition to a thinner material: easier to bend and deform.
EBI:
Choosing an image with more tensions, wrong choice in image, note for next time to be more effective with this aspect.
Making the inside of the sculpture dense, as it was hollow it looked flimsy in other words "weak" unlike a tense leg. This can be done by layering the legs again and again starting from a small layer or filling it with a hard material.
To improve joints between leg and foot, to make a flow of shape like a body rather than two components. Potentially could be done by layering within those joints and putting emphasis on using similar textures there.
Research and explore how other artists have depicted tension and muscle to have a reference for next time. i felt as if I could have improved this area.
Meeting Saul Cumiskey:
Main take away: Learning to give emphasis to the fact that the art work you create is a total sum of what you experience thus the art you see and experience, it is not a form of copying. I loved to see how an artist can be so inspired to receieve a 'buzz' thus he feels satified and happy due to creating art.
My inquiry: Does where you live now now, inspire or lead to the emotional aspect of the art work you currently create?
Saul Cumiskey believes his wife, children and area of residence inspires him through the dialogue, beaches and just the people who he cares about and what they are doing. His wife enjoys gardening thus the garden in their house brings him to see forms of love on a daily basis. He is surrounded by what someone would call his own world, this is a large play in the passion in his work:
