Olhar para Cézanne para aprender a desenhar

Este artigo acompanhou a realização de uma oficina de desenho no âmbito 23º Encontro da APECVA partir da utilização da cor por Cézanne para descrever volume e massa desenvolve-se um exercício de desenho que integra a cor na metodologia de trabalho para representar objectos ou espaço

«Beaucoup Fish»

[Excerto] Quando Stephan Mäder nos mostrou os seus desenhos ficamos imediatamente entusiasmados com a qualidade do trabalho e com a diversidade de temas e funções que o desenho parecia ocupar naqueles registos. Nestes desenhos podíamos reconhecer as nossas práticas e o nosso gozo em desenhar. Eram desenhos de um arquiteto, de um pensador gráfico, e estávamos entusiasmados com a possibilidade de poder mostrar o seu trabalho e ter uma oportunidade para dar a conhecer temas e meios de pensar o desenho e pelo desenho. Mas fomos em simultâneo seduzidos pelos prazeres deliciosos e mundanos que emanavam destas imagens: beber, comer, viajar, desenhar, pintar, e colorir, e que confirmavam o espaço privado e pessoal destes diários. Pareciam ser desenhos realizados por necessidade, e o reflexo de uma mente criativa a trabalhar, mas também eram desenhos realizados por prazer. [...]info:eu-repo/semantics/publishedVersio

Pursuing the Portuguese path of Cosimo III. A diachronic overview of the territory since the insight of Lorenzo Magalotti’s journal and Pier Maria Baldi’s vedutas

Having as backdrop the European journey by Cosimo III (1668-1669), this communication aims to recognize a section of the Portuguese route covered by the Tuscan prince rehearsing a diachronic vision of the territory. Thus, and having as reference the space/time line drawn from the contents of Lorenzo Magalotti's Relazione Ufficiale and Pier Maria Baldi's veduta drawings, we seek to recognize the longue durée expressed in the material and immaterial features of the places. As part of an ongoing research, concerning the recognition of the Portuguese landscape (in its temporal, physical and cultural depth), the communication crosses written and iconographic records from the 17th to the 21st centuries, through a methodology of graphic speculation that recognizes, materializes and exhibits the decomposition of urban morphology and built artefacts along with the assessment of the landscape in its physical and temporal strata. Thus, and starting from a privileged insight over the Portuguese cultural and spatial framework in 1669, provided by Magalotti and Baldi, it is possible to establish reading keys for the identification of physical and human variables and permanencies, recalling the idea of the territory as palimpsest, exhibiting values and vocations of the visited places. This intersection of gazes, the Italian and Portuguese 17th century impression and the contemporary scrutiny of the places visited by Cosimo III, amplifies the importance of such journey as an event and documental source for a broad reading of the European cultural diversity and cohesion

Exposição de artes plásticas: Atelier (A)DIABÁTICO Alexandre A. R. Costa com uma imensa minoria comunitária.

“Qual a necessidade da arte e do seu ensino?” - Procuram-se resultados de teorização sobre o tema, articulando-o com este Atelier (A)diabático. Considera-se a prática artística inclusiva no âmbito da experiência social, fomentando-se espaços e momentos de liberdade para a construção de comunidade, de conhecimento e transformação

Espaços da cor nas fases de um processo

O foco desta investigação é o estudo do fenómeno da cor e seu papel nos desenhos realizados durante os processos gráficos projetivos. Procura-se compreender o espaço da cor no contexto do desenho de arquitetura, como é aplicada, utilizada e explorada e que consequências ou efeitos pode ter no desenvolvimento do projeto e no observador. O primeiro passo dado nesta investigação foi proceder ao levantamento e leitura do material bibliográfico sobre o tema cor e desenho, sustentada por uma consulta a especialistas da área de estudo. Em complemento foi necessário observar desenhos de arquitetos que foram alvo de estudo e de comparação, sendo necessário determinar e constituir parâmetros a observar. Este estudo pretende contribuir para um melhor entendimento da utilização da cor na prática do desenho, no processo gráfico de análise, conceção e ilustração, enquanto medium do pensamento projetivoThe focus of this research is the study of the phenomenon of colour and its role in the sketches made during the design processes. We wish to understand the space of colour in the context of architectural design, how it is applied, used and explored, and what consequences or effects it may have on the development of the design project and the draftsman. The first step taken in this investigation was to collect and read the bibliographic material on colour and drawing, supported by specialist’s consults within this area of study. In addition, it was necessary to observe architect’s sketches that were object of study and comparison, being necessary to determine and constitute parameters of observation. This study aims to contribute to a better understanding of the use of colour in the practice of drawing, in the design process of analysis, conception and illustration, as a medium for design thinkin

Role and functions of colour in the drawings of Portuguese architects

Drawings made by architects have been the object of several studies and publications, however, usually focused on themes that encompass skills, methods, conventions, or representations. This paper addresses drawings done by Portuguese architects, from a completely different standpoint: an enquiry directed to the role of colour. It is generally accepted that colour is a very significant tool and a powerful means of expression, operating at many perceptive levels that can add information and meaning to an image. However, specifically when related to drawings made during the development of an architectural project, how significant is colour in the actual ‘making of the drawing’ and what meanings are attached to it when part of a range of steps and different stages of this complex process? These were the leading research questions that initiated an ongoing investigation within a PhD program in Fine Arts – specialization in Drawing that responds to more overarching issues such as how colour triggers the imagination and thinking process. From the analysis of drawings and discussion with their authors, significant functions and uses of colour began to emerge. Some applications of colour are more straightforward and illustrative in essence than other more personal interpretations and explorations of colour. In fact, this research demonstrates how colour is used for conceptualization of the architectural project; the extent to which colour can operate as an organizational tool; how it can complement the use of only one colour such as black; or even how colour helps disentangle the drawing, as Le Corbusier put it

Expanding the senses of drawing through colour

By equating the creative use of colour with the disciplinary boundaries of architecture, this paper integrates observations, reflections and insights on a variety of alternative graphic strategies, and also expands the meanings attached to a drawing when the significance of colour is highlighted within the creative process of architectural design. Through the observations of numerous drawings from Portuguese architects we have already detected several functions or uses of colour in the design process. Colour can be used in a more straightforward way as a graphic element that can add meaning to a drawing. However, the plethora of meanings include, but do not exhaust, such functions as the exploration of a tool for operative modes or the expression of subjectivity attached to the project, as well as to the author, through complex arrays of colour meanings and expressions

Basic drawing apprenticeship through a vocation friendly methodology

This is an experience-based paper which addresses the importance of Drawing in formative disciplines of young students enrolled in fashion design courses, and present an innovative use for this basilar discipline in a Fashion Design Program. In this pedagogical approach we consider the implication of Drawing as interface and also acknowledge the important elements: conceptual operations; taxonomic icons; and drawing process, as interface components