1 00:00:09,519 --> 00:00:17,020 so ah let's continue our discussion on the same or similar topics here now we are going 2 00:00:17,020 --> 00:00:24,840 to ah see how ah we can effectively use a design elements ah or the elements of visual 3 00:00:24,840 --> 00:00:33,390 representation ah let's ah take line as one example we will ah try to make a line drawing 4 00:00:33,390 --> 00:00:41,050 and see how we can tell our ideas clearly ah by single lines by creating variations 5 00:00:41,050 --> 00:00:50,470 in the line ah let's see it so ah in a line drawing it's important that we ah practice 6 00:00:50,470 --> 00:01:00,280 the pressure on a single line so a line can be this thin a line can also be ah thicker 7 00:01:00,280 --> 00:01:06,570 depending on the different thickness of the point so it's a thinner line there can be 8 00:01:06,570 --> 00:01:17,840 lines which are much more thicker with a paintbrush we have the freedom of making the modulation 9 00:01:17,840 --> 00:01:25,479 in a single line because it's a soft surface and we can either touch the surface with its 10 00:01:25,479 --> 00:01:35,189 tip or we can use the whole volume of it that holds a lot of ink into it so that's one ah 11 00:01:35,189 --> 00:01:41,780 reason why perhaps the artists they prefer paint brush over any other objects but of 12 00:01:41,780 --> 00:01:48,740 course the pen pencil and other things are also not ah in significant as mediums 13 00:01:48,740 --> 00:01:55,759 so ah let's see how we can improvise our line and get the element right now for example 14 00:01:55,759 --> 00:02:08,600 if we want to show lighten shade into a single line for example this is ah leaf and we do 15 00:02:08,600 --> 00:02:17,380 not want this leaf to look like a biological diagram ah now by saying so i am not ah underestimating 16 00:02:17,380 --> 00:02:24,250 a biological diagram but it has a different purpose for your artistic expression if you 17 00:02:24,250 --> 00:02:32,530 are trying to capture the beauty the light and shade of a leaf ah in a clear day light 18 00:02:32,530 --> 00:02:39,780 or maybe after the rain it has got nothing to do with its ah the formation but you need 19 00:02:39,780 --> 00:02:46,110 to capture the feeling of it at the same time if you try to capture all those lighten shade 20 00:02:46,110 --> 00:02:49,100 in a biological diagram that won't serve the purpose 21 00:02:49,100 --> 00:02:54,430 so let's go with the surface and go with the particular purpose so what we are creating 22 00:02:54,430 --> 00:03:00,870 in the surface is a line it's a line drawing of a leaf and we want to show how the light 23 00:03:00,870 --> 00:03:07,310 is falling on this leaf so if we make the line so flat it won't convey the idea and 24 00:03:07,310 --> 00:03:17,530 in that case you need to make some parts thinner the same line can be simply erased off just 25 00:03:17,530 --> 00:03:27,880 to show that part has more reflective elements and you can also make some parts very dark 26 00:03:27,880 --> 00:03:35,290 to show that there is no light falling on the surface so that is one way of creating 27 00:03:35,290 --> 00:03:50,240 a rendering that we have certain areas dark some areas not so dark so in a way we render 28 00:03:50,240 --> 00:03:59,010 and create variation in line so we go with the single line by changing the pressure we 29 00:03:59,010 --> 00:04:07,400 can make it thicker or thinner a brush provides us with that possibility 30 00:04:07,400 --> 00:04:14,780 so ah lets go about different formulas of line drawing how to have variation in line 31 00:04:14,780 --> 00:04:31,249 for example if we draw one side of a pot it doesn't really give us any indication of the 32 00:04:31,249 --> 00:04:45,270 quality of the surface it should give us some clue whether it's made out of clay or metal 33 00:04:45,270 --> 00:04:55,340 maybe a very very shiny metal or a glossy metal or something maybe more wooden that 34 00:04:55,340 --> 00:05:03,319 has have much of a glow so how to understand that a shiny surface may not have a line in 35 00:05:03,319 --> 00:05:11,189 it at all so if it's a pot made out of clay then some part has to be thicker than the 36 00:05:11,189 --> 00:05:19,861 other part so by making this parts thicker it will give us a sense of a rendering so 37 00:05:19,861 --> 00:05:27,490 let's make certain parts thicker and the other part will look lighter 38 00:05:27,490 --> 00:05:45,400 so let's imagine this is our source of light so when the light is falling on this surface 39 00:05:45,400 --> 00:05:51,871 this part which has a thinner line will appear lighter and the thicker lines will be the 40 00:05:51,871 --> 00:05:59,199 darker and we have this amazing rule of nature that gives us the right result for example 41 00:05:59,199 --> 00:06:07,069 if this is the pot trial and again this is a source of light this part will be lighter 42 00:06:07,069 --> 00:06:15,240 similarly we will have the inside part of the pot and we also know that we need to handle 43 00:06:15,240 --> 00:06:24,960 that part so the light will again hit the part which is there inside the upper part 44 00:06:24,960 --> 00:06:41,919 will be darker as a result this part again where the light is less it'll be dark 45 00:06:41,919 --> 00:06:49,259 the other part here can also be darker the surface here may not actually catch much of 46 00:06:49,259 --> 00:06:58,900 a light and that will give us a direction and similarly by making the light and dark 47 00:06:58,900 --> 00:07:05,979 value by following the nature we can get a proper rendering and that will not like ah 48 00:07:05,979 --> 00:07:12,300 if this is a pot it won't look flat but it will come up with the volume because of the 49 00:07:12,300 --> 00:07:15,279 stroke that we are applying to make it light or dark 50 00:07:15,279 --> 00:07:24,520 now this is a naturalistic study and we should also ah sometimes read the mind of artists 51 00:07:24,520 --> 00:07:30,930 those who have created the thing why we compose certain nothing we take a frame and place 52 00:07:30,930 --> 00:07:38,639 the right object on the right place that we haven't been doing so far so ah let's go back 53 00:07:38,639 --> 00:07:47,060 try out certain things in the same line i am taking a reference from a artwork of the 54 00:07:47,060 --> 00:07:54,300 dance of life that is the title of the artwork by edward mong now ah that is the artwork 55 00:07:54,300 --> 00:08:00,930 that is there on my mind you can also check the artwork for reference and ah i am trying 56 00:08:00,930 --> 00:08:07,199 to imagine how the artwork was and how like what what was playing at the back of the mind 57 00:08:07,199 --> 00:08:11,139 of the artist now the composition whether you have seen 58 00:08:11,139 --> 00:08:21,490 it or not its divided into two equal halves with some integrity so let's divide the whole 59 00:08:21,490 --> 00:08:34,520 page into two different halves and this is the central part now here if we place the 60 00:08:34,520 --> 00:08:47,180 main characters where who are dancing ah they are like there's a male figure and a female 61 00:08:47,180 --> 00:09:22,220 figure who are the central character and they are there in a dancing jester and that gives 62 00:09:22,220 --> 00:09:30,510 the whole composition a sense of symmetry so let's remove the central line that worked 63 00:09:30,510 --> 00:09:44,530 as a reference point and see the figures that is there right to 64 00:09:44,530 --> 00:09:53,600 the centre now when we look at the composition which 65 00:09:53,600 --> 00:10:01,840 is so centralized it may also demand a lot of other things that is going to surround 66 00:10:01,840 --> 00:10:10,490 it so in that way we try to create a space where this two characters are standing now 67 00:10:10,490 --> 00:10:20,970 in this picture mong has decided to have two figures one in black so that is one character 68 00:10:20,970 --> 00:10:28,150 ah that may symbolize certain ideas that is related to dark because the character standing 69 00:10:28,150 --> 00:10:37,580 here is wearing a dark gown in the dancing floor she is inactive she is not dancing and 70 00:10:37,580 --> 00:10:45,260 rest of the people on the floor will dance and i'll demonstrate through my drawing so 71 00:10:45,260 --> 00:10:54,270 we see a character that is standing here to break the symmetry there's another figure 72 00:10:54,270 --> 00:11:05,340 to create or maintain the symmetry again so by breaking and creating we are maintaining 73 00:11:05,340 --> 00:11:16,130 the sense of balance in the picture so there's this figure who is standing here 74 00:11:16,130 --> 00:11:29,750 in a similar location and we are here to make assumption because a artist he didn't he will 75 00:11:29,750 --> 00:11:35,490 never write down what he had in his mind because that is the secret had he wanted everything 76 00:11:35,490 --> 00:11:42,370 to be revealed he would have written a prose or a like or a description of the same thing 77 00:11:42,370 --> 00:11:49,140 so she choose this medium of his expression and he is not going to speak more than this 78 00:11:49,140 --> 00:12:03,660 so in this character here is that is otherwise black wearing a black gown which is almost 79 00:12:03,660 --> 00:12:26,750 peach dark 80 00:12:26,750 --> 00:12:40,870 treating a strong strong salute and the other figure is white with some texture on her gown 81 00:12:40,870 --> 00:12:51,930 to depict some positivity the artist has also created images of flowers which is bending 82 00:12:51,930 --> 00:12:57,970 towards the character here who is perhaps symbolizing something more positive than the 83 00:12:57,970 --> 00:13:05,220 other figures now the whole picture is divided into many different planes to get the idea 84 00:13:05,220 --> 00:13:12,250 right now the dance the context that ah we know from the thematic context text i am not 85 00:13:12,250 --> 00:13:18,550 going ah much into the detail of it because our focus here to see the visual arrangement 86 00:13:18,550 --> 00:13:30,150 but this is happening somewhere in norway and this is the sky 87 00:13:30,150 --> 00:13:40,120 sky is giving us the sense of a background it also has a middle ground another ground 88 00:13:40,120 --> 00:13:49,540 here and finally the dancing floor is working as s foreground 89 00:13:49,540 --> 00:13:57,400 now when we create this character we also see that there other figures one standing 90 00:13:57,400 --> 00:14:16,200 somewhere here the other two characters engrossed and they join their dance into the fullest 91 00:14:16,200 --> 00:14:32,970 there are other two characters very interestingly made with lots of expressions a male figure 92 00:14:32,970 --> 00:14:52,320 and a female figure dancing trial and all this figures are dominated with two shades 93 00:14:52,320 --> 00:15:04,130 its either white or black now this is the whole composition and it has a very interesting 94 00:15:04,130 --> 00:15:13,010 element in it which is perhaps the most important element that is the moon and the moon beam 95 00:15:13,010 --> 00:15:24,370 on the water now what is playing in the mind of the artist when ah he created this composition 96 00:15:24,370 --> 00:15:31,800 he basically divided the whole composition into all this different planes and his focus 97 00:15:31,800 --> 00:15:39,480 areas if we make a few marks with a different color we can understand that things are all 98 00:15:39,480 --> 00:15:59,930 going to order its happening from all sites and by leaving this much of space at the age 99 00:15:59,930 --> 00:16:07,590 of the painting he has made the focus coming somewhere in between all the lines are somehow 100 00:16:07,590 --> 00:16:15,850 converging into a point or perhaps coming out from a point which is like a vanishing 101 00:16:15,850 --> 00:16:24,750 point right at the centre and that is drawing all our attention towards one area between 102 00:16:24,750 --> 00:16:32,350 the face of the main male character and female character the female character is also wearing 103 00:16:32,350 --> 00:16:47,480 a gown which is red in color that is strong and strong enough to balance 104 00:16:47,480 --> 00:16:53,650 the black and white so this is how we arrange we compose and we 105 00:16:53,650 --> 00:17:01,820 should also get into the practice of reading the mind of the viewer also what is there 106 00:17:01,820 --> 00:17:06,049 in the mind of the artist when he is in the process of reading the mind of a viewer