Drawing on Sculpture (To A Question About “The Artistic Method”)

Yıl 2021, Cilt: 1 Sayı: 2, 74 - 78, 30.06.2021

Çevirmen: Ferit Yazıcı

Öz

The figure is seen as an independent art form, and as a preparatory phase, a search in the creation of any other
works of fine art. Expressive and visual means of drawing (line, stain, tone, rhythm, etc.) are common visual means
and do not have specific characteristics. It is a feature of a picture “for sculpture.”
In artistic practice today a figure acts as both an independent art, and as preparatory, search engine, an intermediate
step in creating beautiful, graphic, sculptural, or any other works of art. In each of these cases, the figure decided
quite certain tasks, nature and direction of which is determined by a common task when we turn to another kind of
art, we are dealing with a different pattern. What differentiates figure painter of figure drawing and figure sculptor
from the above two. Once you know the nature of these differences, it is hoped that it will serve as yet another
benchmark in setting the training targets for academic studies on the subject.
We are interested in problems connected with thinking on the material. For the painter, such material is the color for
the graph-tone, for the sculptor-volume.
Any components of the face image from a professional point of view are equally important in any genre. Line, stain,
tone, rhythm in illustration, etc. are common visual means and do not have specific characteristics. The whole visual
arsenal of the picture is equally important and can be applied in any of the arts. It is universal.
The graphical method involved building the image based on the conflict of black and white on a plane. White as not
touched by the black paper, makes the figurative eplanes. Space in the schedule is not deep, but on the plane. The
plane is one of the important conditions for the graphical method. You can formulate a question, “If the draw is the
pencil with the thought of sculpture, whether it should equally take care of the “picturesque” qualities of the picture,
or focus on the sculptural characteristics lead him to seek quicker results?!” And the second part of the question, “If
the draftsman-sculptor always takes a pencil with the thought of their craft, whether in all its non-quality drawings
and the artist?”
In our view, the specifics and drawing for a sculpture and drawing by hiding in several positions. First, in a certain
indifference of the environmental motive (motive should not simply dominate the environment, but the rule, or ignore
the environment). Secondly, the inevitable reluctance to the visual field (visual field of sculptural volume will occur no
sooner than the volume that will not one perspective-silhouette, and three hundred and sixty). Thirdly, the intuition of
an artist-sculptor will strive not to load the volume into the figurative plane and spread the depicted motif on the
plane, but “take out” the image of the plane, to give volume and integrity of the silhouette.

Anahtar Kelimeler

Picture , Expressive Means of Drawing , Space , Volume

Heykelde Çizim (Sanatsal Yönteme Dair Bir Soru)

Öz

Bu makalede, çizim (desen) bağımsız bir sanat biçimi ve başka bir sanat eserinin yaratılmasında etkili bir araştırma ve
hazırlık aşaması olarak kabul edilmektedir. İfadeci ve resimsel çizim araçları (çizgi, nokta, ton, ritim, vb.) yaygın görsel
yardımcılardır ve tür özellikleri yoktur. Yazarlar "heykel için" yapılan çizimin özellikleri hakkında yazmaktadırlar.

Anahtar Kelimeler

: Resim , İfadeci Resim Araçları , Mekan , Hacim

Kaynakça

• Rostovtsev, N.N. (1984). Akademicheskiy risunok. Uchebnik dlya studentov hudozhestvenno-graficheskikh fakul􏱧tetov pedagogicheskikh institutov. Mosco􏱨, Prosveshchenie Publ.