hand drawn in my moleskine colored digitally my buddy gabe beating the shit out of his drums.
The Arts and Crafts movement was an international movement in the decorative and fine arts that began in Britain and flourished in Europe and North America between 1880 and 1910, emerging in Japan in the 1920s. It stood for traditional craftsmanship using simple forms, and often used medieval, roman
We talk about Art, Design and Architecture, feature talented artists from around the world.Come for the Art and checkout our Apps.
This set includes 17 colorful forms that are beautifully illustrated and colorful. They provide lovely and simple inspiration for the form to work on for the week. This set focuses on Celtic and Norse Knots. What is Form Drawing? Creative form drawing helps children develop hand-eye co-ordination, spatial orientation, observations skills, confident movement, drawing skills and the foundations of handwriting. It can also be used as a meditative practice. Originally developed by Rudolf Steiner, creative form drawing is widely used in private, charter and homeschools all over the world! Included: 1 file with small form drawing cards, 6 to a page and 1 file with large form cards, 2 to a page. Best printed on cardstock or watercolor paper. To learn more about this practice, read this wonderful article! http://www.waldorflibrary.org/images/stories/articles/formdrawing.pdf
The artistic legacy that the great Leonardo da Vinci left on the art world is undeniable. Michele Bajona is a contemporary figurative artist with a passion for the history and teachings of classical renaissance painters. He has taught renaissance art history at several universities, institutes, and conferences across the globe. In Michele’s first course, he teaches students how to create striking watercolor portraits with a live model. In this course, Michele takes you on a trip through the renaissance period to discover the works of "the renaissance man" and learn his invaluable drawing methods. Are you ready to create an artistic portrait filled with the knowledge and skill of Leonardo da Vinci’s techniques?
This set includes 17 colorful forms that are beautifully illustrated and colorful. They provide lovely and simple inspiration for the form to work on for the week. This set focuses on Celtic and Norse Knots. What is Form Drawing? Creative form drawing helps children develop hand-eye co-ordination, spatial orientation, observations skills, confident movement, drawing skills and the foundations of handwriting. It can also be used as a meditative practice. Originally developed by Rudolf Steiner, creative form drawing is widely used in private, charter and homeschools all over the world! Included: 1 file with small form drawing cards, 6 to a page and 1 file with large form cards, 2 to a page. Best printed on cardstock or watercolor paper. To learn more about this practice, read this wonderful article! http://www.waldorflibrary.org/images/stories/articles/formdrawing.pdf
Dance is movement that is physical, cultural, social and psychological. It has always been an essential part of human life that is used to express meaning or to communicate a message. It is a part of celebrations and ceremonies and is a non-verbal expression that communicates with people. Dance as a discipline shares similar creative aspects with architecture. They both use and define space. Dance is movement of the human body through space over time and architectural spatial qualities are experienced by the human body through movement over time (Huang, 1991). “Time in dance establishes rhythm. Time in dance gives order to motion. Dance may be perceived as ephemeral at its time of performance, but it is through its making, conceptualization, process, medium, and product that it becomes temporal. Dance transcends time through experience and memory.” (Huang, 1991) “Time in architecture reveals spatial qualities. Time in architecture allows for generosity and growth. Architecture transcends time through the collection of memories that deposits itself in archetypal spaces.” (Huang, 1991) Although similar, dance and architecture seem to be in contrast with each other. Dance is about movement while architecture is more about being static. Dance has qualities of rhythm, dynamism, liveliness and can appeal to the emotional side of the observer. Both architecture and dance require movement, time and space (Huang, 1991). Both these disciplines have evolved over time and moved away from old concepts of space and form. Architecture now embraces dynamism and rhythm, while dance embraces the chaotic and the random (Christov-Bakargiev, 2013). By exploring how people move through the site over time and linking each space to the qualities associated with dance and also providing opportunities for different kinds of experiences will give a link between the two disciplines. Observing the creation of dance, and importing choreography into architecture allows for the creation of programme that, like dance, uses chance and unpredictability (Huang, 1991). This will allow the architecture to in-cooperate energy, intent, suspense and direction. ‘Architecture designed via space frees the building of formal considerations; it is through the negative element, the space, that the architectonic form becomes meaningful and defined (Chang, 1981). Dance can be private for the individual or can be done for an audience. Playing on the issues of transparency immerses the observer in the art of performance and these will be tested in the performing arts theatre and school. The project will explore informal performance spaces for the public. The performing arts theatre and school will provide an opportunity to employ spatial concepts used in dance to develop and design the architectural space. Through doing this, this can open a new dimension in architecture. This will in turn allow the performances to define the space. Elements of dance Rudolf von Laban was a very influential dance instructor and theorist of the twentieth century who believed that dance was not subordinate to music. He identified the principles inherent in movement which led to the development of a system known as the Laban Movement Analysis. He classified the characteristics of choreography into elements that can lend themselves to the process of designing buildings within their context. Elements such as shape, space, timing and dynamics can be played upon to open up the dialogue and breaking through traditional design process to provide richer experiences that enhance the performance. Shape is connected with how the body is flexible and responsive. It can be about straight, curved, jagged or angular lines. Levels, symmetry, asymmetry and scale are key concepts that will be incorporated in the design of the theatre and school. Space deals with the geometric forms of the body and these include horizontal and vertical patterns. Timing will be used to determine the rate at which people move through the site and the key experiences they will go through. Dynamics in dance is the quality of movement, uniqueness, richness and power. It brings together all the elements such as weight, time, space and flow to achieve it. The quality of the spaces in the theatre will play an important role and the transition between these spaces creating a unique experience in each space. Capturing views of the site and aspects of the performance from official productions to private rehearsal. References Chang, A., 1981. The tao of architecture. 1 ed. New Jersey : Princeton . Christov-Bakargiev, C., 2013. Dance and Architecture. [Accessed 29 September 2013] Available at: http://thinking-in-practice.com/dance-and-architecture [Accessed 12 September 2013]. Hanna, J., 1987. To dance is human. 2 ed. Austin : University of Texas press . Huang, E., 1991. Body in space: The sensual experience of architecture and dance, Melbourne: Massachusetts Institute of technology. Moeller, M., 2006-7. National building museum, the stories of architecture, engineering and design. [Accessed 2 October 2013] Available at: http://www.nbm.org/about-us/publications/blueprints/architecture-dance.html [Accessed 2 october 2013]. Morell-Perea, D., 2006. Architizer. [Accessed 2 October 2013] Available at: http://stat2.architizer.com/en_us/projects/view/uiuc-graduate-dance-laboratory-i/24017/#.UlJLXYanofg [Accessed 6 October 2013]. Springer, 2010. Architecture linked. [Accessed 2 October 2013] Available at: http://architecturelinked.com/profiles/blogs/calatrava-and-the-nyc-ballet [Accessed 6 October 2013]. Image References 01_ Image from http://apkconcepts.wordpress.com/category/architecture/ , accessed 01.10.2013 02_ Image from http://c-monster.net/2011/06/10/roof-piece//, accessed 01.10.2013 03_ Image from http://www.theguardian.com/stage/2012/jun/24/shobana-jeyasingh-toomortal-architecture-dance/, accessed 01.10.2013
After studying the avant-garde movement of Futurism, in the classes of Grade 9 we decided to reproduce the movement of a figure using the method of overlapping sequences and force lines used by the…
Patricia March's works are concerned with movement and time. He exquisite drawings capture fleeting seconds of expression and minute action. "I have always had a huge interest in cinema and photography, I believe this interest comes from the little moments on the big screen, together with my interest in the perception of ‘time.’ That is what has motivated me to investigate the sequence and progression of time through paper. I think sometimes, only by observing flashes of time from a distance can you see the real person. Their expressions or gestures, their way of walking, their look, or simply by seeing them stand quietly, are the often the real insights into somebody’s life. I grab flashes of people’s lives, then invest my time into turning this flash of time into the representation of a life." Patricia March
Capturing the beguiling beauty of Glencoe, this evocative print invites viewers to delve into a reimagined vision of nature's splendour. Reminiscent of the Cubist movement, the artwork fragmentises the serene landscape of a Highland lochan into an intricate play of geometric shapes and vibrant colours. Gentle rolling hills and steep mountains are deconstructed into layered facets, their forms flirting with light and shadow. Gaze upon the majestic panorama where trees, painted in a resplendent palette of autumn hues, cascade down the rugged terrain to meet the water's edge. Their fiery tones are reflected with an enchantment on the lochan’s surface, which itself is a mosaic of deep blues and emerald greens. Each reflection is broken into a tapestry of abstracted circles and ovals, lending an ethereal quality to the waters, as if the loch breathes a life of its own. The bold juxtaposition of organic forms against stylised elements is a hallmark of this piece. Sharp angles meet the soft, diffused light of a tranquil autumn day in the Highlands, encapsulating the dichotomy between nature's fluidity and the rigidity of modernist sensibilities. This print is an homage to the stark, yet harmonious Scottish landscape, reenvisioned through the cubist lens – an irresistible piece for collectors and nature enthusiasts alike. Add this compelling artwork to your space and let the whispers of Glencoe's timeless beauty unfurl across your walls.
