Exercise 1: Bundle and Section drawing
Make a bundle for a selection of found artifacts. The bundle contains “hard material” in the form of 5-8 small objects and “soft material: such as cloth, mesh or paper products. Using tape as a binder/wrapper, but, more importantly, using the tape as a medium. As the bundle is assembled the placement of the objects in relation to each other is important for the anticipation of the bundle being cut producing a section. Thinking about the interrelationships among the objects, the role of the tape, and the spaces in-between the objects.
A cut through the bundle resulting in a section will be studied for its spatial qualities, and from the section an accurately detailed drawing will be produced using the technique of “pocheing”
Derivative of Nature
Graphite pencils, ink and Stonehenge
The bundle mostly consists of items made of wood, the reveal of the interior wood grain from the initial cut emphasizes the sectional quality of the piece, along with the added texture of the band saw creates a dynamic condition when the bundle was cut in two. The addition of ink was to draw attention to the section lines, as well as the vertical hatch lines in representation of the poche. The layers of ink representing the pocheing of objects varying in density show the weight of the material. The black ink emphasizes the sectional quality of the bundle by the use of vertical hatched lines varying in thickness and space as a representation of the different textures and multiple shades/types of wood. The effect of pocheing only the pieces of the bundle that the band saw cut gives the items an effect of weightlessness and equilibrium, from originally heavy objects making the items appear detached from the laws of gravity.
Exercise 2: Bundle Record
We are asked to produce a scaled model of your bundle using Rhino. This exercise asks that we use a combination of carefully measured recording, as well as speculative interpolation. While much of your bundle will be visible and easily measurable, there may be other portions that are concealed and therefore “unknowable”. We are asked to take these differences into account as we seek to record that which the walls reveal and that which lines obscure.
Chiaroscuro [kee-ahr-uh-skyoo r-oh]
Rhino, Illustrator, and Photoshop
Chiaroscuro is an Italian term which literally means light-dark. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modeling of the subjects depicted. The experimentation in drawing with a dark medium and white highlighting, similar effects in the lighting of cinema and photography are also a form of chiaroscuro. Pictorial representation in terms of light and shade without regard to color. The arrangement or treatment of light and dark parts in a pictorial work of art. The interplay or contrast of dissimilar qualities (as of mood or character). The interplay of light and shadow on or as if on a surface. The quality of being veiled or partly in shadow The modeling quality used with Rhino gives the items in the bundle an abstract quality, removing the texture of all the different materials. By using a form of Chiaroscuro to reflect a difference in tone represents a boundary in between the sections. The gradual darkening of tone as a demonstration of pocheing the section lines brings a range of weights to the items in the bundle. The pure white tones in contrast with the rich black lines add a substance to the drawing that grounds it to the page.
Exercise 3: Frame
Study the results of exercise 1-2, the work should establish a hierarchy of formal and spacial relationships and to differentiate large/small spaces from connective tissue. For this exercise we are asked to re-consturuct the bundle (or a small portion of the bundle) utilizing only basswood sticks. Consider the operations of outlining, delineating, and framing as well as the following: points, webs, fields, intensities, branches, clouds, skeletons, volumes, prosities, densities, intersections, and connections. In addition consider the relationships between the inner spaces and the outer container. Produce one constructed , straight-line drawing that demonstrates a clear relationship to the model.
Objects in a Vacuum
Graphite, Stonehenge, Basswood sticks
The voided vacuum of a space when it has been cut through acts as a disruption of the objects. These objects don’t to apply to the laws of physics; items can appear to float without any support, the weak can uphold the heavy, and the hidden becomes visible. Objects in a Vacuum fall at the same rate no matter their density. An object in space when set in motion will stay in motion. The placement of the objects appear to be gradually floating apart from one another. The solid plane acts as a datum separating the items into two separate quadrants. The lower quadrant is that of the literal, the objects are more clearly defined while the top quadrant is distorted and abstracted. This plane signifies a movement toward the abstract, as well as an infringement upon the laws of physics as the items drift further apart, and burst from within. The gradual darkening of tone as a demonstration of pocheing brings a range of weights to the items. The quality of being veiled or partly in shadow radiates the pure white tones in contrast with the rich black lines. The interplay of light and shadow signifying the dark blacks tones of the drawing represent the weight of the objects there density and their relationship to the other items in the vacuum.
Exercise 4: Layer
The previous works established a heirachy of formal/spatial relationships that allows a differentiation of large/small spaces from connective tissue. For this exercise re-structure your bundle utilizing only planar material. Consider the opperations of layering, wrapping, and warping as well as the following: continuity, discontinuity, ebbs, flows, eddies, pools, meanders, paths, circuits, channels, edges and contours. Inaddition to the model produce a collage/drawing utilizing at least 25 sheets of material. This collage/drawing must demonstrate a clear relationship to the model.
Chiaroscuro in Motion [ kee-ahr-uh-skyoo r-oh]
Chiaroscuro literally means light-dark. The quality of being veiled or partly in shadow. By using a form of chiaroscuro to echo a difference in tone between the sections represents a set of boundaries within the bundle. The gradual darkening of tone acts as a system of weight the darker the tone the denser the object. The pure white tones in contrast with the rich black lines add a substance to the drawing that grounds it to the page. The void when it has been cut through acts as a disruption of the objects. These objects don’t to apply to the laws of physics; items can appear to float without any support, the weak can uphold the heavy, and the hidden becomes visible. The placement of the objects appear to be gradually floating apart from one another. The solid plane in the center of the piece acts as a datum separating the piece into two separate quadrants. The datum represents as a separation and movement from the literal towards the abstract, and as this movement progresses an infringement upon the laws of physics as the objects drift further apart, and burst from within. The interplay of light and shadow signifying the dark black tones of the drawing represent the weight of the objects there density and their relationship to the other objects. The spatial ideas of weight and lightness are related to the concepts of light and dark tones, by association of dark tones with the density of the objects. The darker the tone the denser the object.
Exercise 5: Solid
An emergent idea, or set of ideas, should become clear. Re-structure the bundle utilizing only solid wood material. Consider operations of forming, shaping, and molding as well as the following: solid vs. void, cavities vs. protrusions, interior vs. exterior, stability vs. instability, surface vs. mass. monolithic vs. aggregate, soft vs. hard, and open vs. closed. In addition to the model, produce one figure/ground study utilizing 3 tonal variations (black, 50% grey and 10% grey). This figure/ground study must demonstrate a clear relationship to the model.
Solid Poplar wood
A datum that cuts through the center of he sculpture acts as a catalysis for all the surrounding spaces. The spaces are connected to the datum through tendon like structures which support, ground, and anchor the spaces to the datum, which acts as a centralized focal point of the piece. The datum then assumes a role of the center of gravity appearing to have its own gravitational pull enacting on the surrounding spaces. The tendons acting on the gravitational force creates a series of intricately woven voided spaces.
Spring 2012 Sophomore Year
Faculty: (Coordinator) Dennis Maher, (Professor) Jennifer Oakley