User:Chen Junyu/Graduation Project Seminar/ project proposal/Proposal5 - Revision history

Chen Junyu: /* Preview works */

2015-02-10T08:20:44Z

Preview works

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	"How to Draw a Perfect Circle"		"How to Draw a Perfect Circle"

	~~Even though it~~ is ~~a work done for the group exhibition, I think it~~ is the ~~related~~ to ~~this project on thinking the relation between drawing~~ and ~~animation,~~ also the ~~usage of ink~~.		This project is also talking about what is the process of drawing means to us, and also using the fundamental gesture to express it .
	<br>{{vimeo\|116489227\|centre}}<br>		<br>{{vimeo\|116489227\|centre}}<br>

Chen Junyu: /* Research Question */

2015-02-10T07:53:15Z

Research Question

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	==Research Question==		==Research Question==
	My research question is, How to most effectively present ( and preserve) the ~~movement or gesture that is~~ the ~~basis~~ of drawing ~~or chinese ink painting~~, (here ~~movement~~ can be related to Hsieh Ho's first principle of Chinese painting: the resonance of vitality.)		My research question is, How to most effectively present ( and preserve) the vitality of the process of drawing, (here vitality can be related to Hsieh Ho's first principle of Chinese painting: the resonance of the spirit,the vitality.)

	==Prototypes==		==Prototypes==

Chen Junyu: /* Prototypes */

2015-02-09T09:09:22Z

Prototypes

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	==Prototypes==		==Prototypes==
			{{Youtube\|1bWy5vd7OwE}}

	==Preview works==		==Preview works==

Chen Junyu: /* Work Survey */

2015-02-09T07:52:31Z

Work Survey

← Older revision		Revision as of 09:52, 9 February 2015
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	Barry Le Va's On Center, ''On Edge Shatter Scatter (1968)''		Barry Le Va's On Center, ''On Edge Shatter Scatter (1968)''
	<br>		<br>
	{{youtube\|~~IdCr07o4zI~~}}		{{youtube\|_IdCr07o4zI}}

	Gary Kuehn Gesture Project 2011		Gary Kuehn Gesture Project 2011

Chen Junyu: /* Work Survey */

2015-02-09T07:51:39Z

Work Survey

← Older revision		Revision as of 09:51, 9 February 2015
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	==Work Survey==		==Work Survey==
	{{youtube\|~~lD7BHl5W86Q~~}}		{{youtube\|mR2G4G7Z_lI}}
	<br>		<br>
	~~"Background Story" -- A "painting" by Xu Bing.~~		Barry Le Va's On Center, ''On Edge Shatter Scatter (1968)''
	~~Xu Bing and his team use different material from our daily life trying to transfer Wang Siming~~'s ~~landscape painting painted in 1764.~~
	~~It proposed a question: How to define painting~~(~~or drawing~~) ~~and what is the possibility of Chinese ink painting.~~
	<br>		<br>
	~~[[File:Liuguosong.jpg~~\|~~center]]~~		{{youtube\|IdCr07o4zI}}
	~~What Liu Guosong's painting effects me is~~ the ~~way~~ of ~~innovation. He keep the traditional Chinese ink painting's core but weeds out the restriction from format~~ and ~~methods~~.
			Gary Kuehn Gesture Project 2011

			These two works both interpret "the process" of their work in a visible and obvious way.

	==Literature Survey==		==Literature Survey==

Chen Junyu: /* Context */

2015-02-09T07:43:18Z

Context

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	"This quality of underlying movement is, of course, the special 'charm' of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture."(Philip Rawson, Drawing). It is barely possible for spectators experiencing the "charm" of the dynamic and irreversible process from the final work.		"This quality of underlying movement is, of course, the special 'charm' of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture."(Philip Rawson, Drawing). It is barely possible for spectators experiencing the "charm" of the dynamic and irreversible process from the final work.
	The "dynamic" of drawing seems obscure and unreadable. "In appreciating drawings, no less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition. To get it at least one has to look into the drawing carefully to find the order in which its parts were executed...But for thoroughgoing preservation of the qualities of drawing in painting one has to look to the Far East --or to Western 'action' painting based on Far Eastern ideas.”		The "dynamic" of drawing seems obscure and unreadable. "In appreciating drawings, no less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition. To get it at least one has to look into the drawing carefully to find the order in which its parts were executed...But for thoroughgoing preservation of the qualities of drawing in painting one has to look to the Far East --or to Western 'action' painting based on Far Eastern ideas.” Based on his thought, I started thinking how to use Eastern material or at least as a starting point to experiment how to express the "charm" in the process of drawing.

	[[File:Mondrian-04blueoriginal.jpg\|thumbnail\|center]]		[[File:Mondrian-04blueoriginal.jpg\|thumbnail\|center]]

Chen Junyu: /* Prototypes */

2015-02-05T10:13:22Z

Prototypes

← Older revision		Revision as of 12:13, 5 February 2015
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	==Prototypes==		==Prototypes==
	~~====First step====~~
	~~My first step for the project is trying to alter or transform the form of a painting by putting it into an external condition. I have two prototypes here:~~

	~~'''1st.'''~~

	The expected installation would be formed by three parts : a stone container (1 metre long, 40 centimetres wide ) which has a construction that response to the vibration of the environment, it will shake when the vibration reach a certain range. The ink in the stone container, and the projection of a drawing from the top of the container onto the surface of ink. I will use the technique and material of Chinese painting to approach the final drawing. The projection of the drawing should be in the same scale of the original one, and should be available to represent all the details of stroke and the texture of the paper.
	For this project, the image spectators seeing is based on my drawing. While the waving of the ink, the projection of the drawing on the surface would keep changing its image . It is also irreversible. Every moment the current environment generate a new effect on the drawing, thus spectator will receive sequence of image which are reconstructed from my drawing by the dynamic environment. It can be read as the live animation, but in another way, the environment keep overlapping the unexpected strokes(wave) over the latest image. And spectators are also included in the process of drawing. It is the live drawing process which can always captured by viewers who at the same time also play the author of the drawing.

	~~<br>~~
	~~[[File:WATER-1.jpg\|700px\|frameless\|none]] [[File:DSC05546.jpg\|400px\|thumbnail\|none]]~~
	~~<br>~~

	~~'''2ed'''~~
	It is an attempt to trigger the movement of the painting by air. Also I projected the painting on the wall and generate the spray to effect the projection by changing the condition of light from projector. Here is a video of how it works.


	~~====Second Step====~~
	After the first step, I start thinking if the changing of the form will lead a misunderstanding or distraction to spectators from the concept of dynamic. For me these two prototypes present the performative meaning more than the internal concept. So I go into the concept itself -- what it does vitality mean and the possibility to present the process of painting meanwhile keep the form of painting.

	~~I do not have an answer yet, but I have some more try out based on the idea of second step:~~

	==Preview works==		==Preview works==

Chen Junyu: /* Context */

2015-02-05T10:12:55Z

Context

← Older revision		Revision as of 12:12, 5 February 2015
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	"This quality of underlying movement is, of course, the special 'charm' of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture."(Philip Rawson, Drawing). It is barely possible for spectators experiencing the "charm" of the dynamic and irreversible process from the final work.		"This quality of underlying movement is, of course, the special 'charm' of drawing which can never properly be carried over from drawing into a finished work of painting or sculpture."(Philip Rawson, Drawing). It is barely possible for spectators experiencing the "charm" of the dynamic and irreversible process from the final work.
	The "dynamic" of drawing seems obscure and unreadable. "In appreciating drawings, no less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition. To get it at least one has to look into the drawing carefully to find the order in which its parts were executed...But for thoroughgoing preservation of the qualities of drawing in painting one has to look to the Far East --or to Western 'action' painting based on Far Eastern ideas.”		The "dynamic" of drawing seems obscure and unreadable. "In appreciating drawings, no less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition. To get it at least one has to look into the drawing carefully to find the order in which its parts were executed...But for thoroughgoing preservation of the qualities of drawing in painting one has to look to the Far East --or to Western 'action' painting based on Far Eastern ideas.”

			[[File:Mondrian-04blueoriginal.jpg\|thumbnail\|center]]
			In James Elkins's article ''How to look at Mondrian'', he takes example of Mondrian's work "Lozenge" to explain how Mondrian deal with the lines in his painting. By using macro lense, his observation leads to the result -- those vertical and horizontal lines, are not perfect and smooth lines as we usually think. While Mondrian doing his work, sometimes he may only use his hands without any support, to get the subtle shake or waggle presented on his painting.

			Another example is from Paul Klee, his catchphrase "Taking a line for a walk" seems explain the reason of Mondrian's delicate shaking lines. Quoted from "It's a very fine line" by Laura Cumming, "balancing and orchestrating lines so that they take the eye for a walk through fields of graphic energy."

	==Research Question==		==Research Question==

Chen Junyu: /* Work Survey */

2015-02-03T17:45:46Z

Work Survey

← Older revision		Revision as of 19:45, 3 February 2015
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	It proposed a question: How to define painting(or drawing) and what is the possibility of Chinese ink painting.		It proposed a question: How to define painting(or drawing) and what is the possibility of Chinese ink painting.
	<br>		<br>
	[[File:Liuguosong.jpg\|~~thumbnail~~]]		[[File:Liuguosong.jpg\|center]]
	What Liu Guosong's painting effects me is the way of innovation. He keep the traditional Chinese ink painting's core but weeds out the restriction from format and methods.		What Liu Guosong's painting effects me is the way of innovation. He keep the traditional Chinese ink painting's core but weeds out the restriction from format and methods.

Chen Junyu: /* Work Survey */

2015-02-03T17:43:56Z

Work Survey

← Older revision		Revision as of 19:43, 3 February 2015
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	It proposed a question: How to define painting(or drawing) and what is the possibility of Chinese ink painting.		It proposed a question: How to define painting(or drawing) and what is the possibility of Chinese ink painting.
	<br>		<br>
			[[File:Liuguosong.jpg\|thumbnail]]
			What Liu Guosong's painting effects me is the way of innovation. He keep the traditional Chinese ink painting's core but weeds out the restriction from format and methods.

	==Literature Survey==		==Literature Survey==