Continuing on with one of my concept ideas, inking in the pencil work.
Discussion with Mazin:
Initially, we talked about timetables and how I might go about making one. I considered laying out my timetable into a chart and creating a diagram that represented activities and time.
These activities included: a timetable, ongoing research, documentation, a range of concepts such as ‘A’, ‘B’, or ‘C’. It also included committee meetings, presentations, testings and evaluations, and how work might potentially be displayed. Another area could have been techniques and materials. Furthermore, I could demonstrate how the bars could be placed on the timetable, with research and documentation as constant fixtures. However, with research, I could split this into three stages. Firstly, ‘Concept A’. Secondly, ‘Concept B’. And, finally, ‘Concept C’. Within the last stage, I would need to research into a presentation, and how I would present in the exhibition.
Mazin also recommended a book by Francis D. K. Ching, titled “Design Drawing, 2nd Edition”. It details the mastery of visual language within architecture, and how I could use that in my own work. I have issued this work out of the EIT Library.
He also suggested Paulo Soleri’s work and that I could visit Amazon to search some of the books that he’d written, then head back to the EIT Library and inquire about an interloan.
There was a short conversation about the curvy tape that I’m researching, and whether or not I could find it. My best bet, of course, is to search either Mitre 10 Mega or an auto repair paint shop. The tape that I am after is thin and simple to maneuver, nor does it bubble once set down on a surface. I hope to utilize this tape to create works on walls as well as incorporate the curves to some of the structures I’m looking into. Michael Craig Martin was my inspiration for this.
I also inquired about how to draw a circle with two-point perspective, of which Mazin created a diagram so that I would understand more whole-heartedly. I learnt that a sphere is still, of course, a sphere, and all I need to do to recreate a circle within a perspective piece is to use a compass—regardless of the angle.
During the afternoon, I attended a life drawing class—something that, even though I’m not drawing humans in my work, it was a nice experience to reinform my ability of freehand perspective. The first few were terrible, of course, without of proportioned limbs. However, I loosened up a bit and my work began to take form in a more natural way.
I found the experience relieving—a nice change, even, after relying on rulers and perfect lines for so long.
In life drawing, it was much different from that. We had to do it freehand and had to trust our strokes, focusing more on shadows and lighting to create the body’s form. Then, and only then, were we allowed to concentrate on the actual outline of the person. From this, I may consider taking an older, completed piece, and then go over it in pencil to incorporate shadowing and textures into the work.