Project 2: expand/ one hundred lines

This week you have two tasks:

1) Extend, adapt or redraw your three drawings to show the precise range of behaviour change your chosen elements generate and the social conditions they may relate to. For instance, if you were describing using a tin bath rather than a bathroom, you might need to draw bath, stove, screen (for heat and privacy) as well as the kitchen itself and its more familiar components – cooking pots, sides of bacon hanging up to smoke, the ‘copper’ that heated the water (sometimes a tank in the chimney) — etc etc. You need to be very well informed about your chosen element and precise and thorough about how you describe it.

You should also consider how to allude to the wider social changes these objects may relate to (slavery? the industrial revolution? mediaeval warfare? religious persecution? etc. Our discussions on thursday considered how your objects relate to the history of the world; your drawings may in some way refer to this.

This should not be an abstract drawing, but a precise and detailed attempt to draw the way an object of piece of architectural stuff a)changes peoples behaviour and b) what social conditions that relates to. Conventional architectural drawings — plans, sections, perspectives — are surprisingly good at this, and their conventions can be easily adapted to describe precise and unfamiliar conditions. Look also at drawings like Diderot’s Dictionary or scenographic drawings, like Hogarth’s Gin Lane.

Make sure your objects are well chosen — most you chose were good, but if you were advised to select another, then do so now. Also if you were advised to draw a different type of drawing of your object — a plan rather than a view, or a detail, or a section showing your object in its space – do so now. The trick is to consider how a single drawing can precisely explore and convey a very large amount of information – about material, space, behaviour, society, ideas.

Also — a new rule for the year – whenever you draw an architectural element — make sure you know how that elements works so that you can draw it accurately. When you cut through a wall, for instance, ALWAYS make sure you know what that wall is made of, how thick it is, how it works — and how you draw it, so that your drawings always show the difference between a stone wall, a half timbered wall, a wall made of paper etc. These do not have to be ‘technical’ drawings, but they do have to be ‘architectural’, and accurate. Find out now how to do this, on these tiny examples, and get into the habit of always using any drawing to show this.

2) 100 lines.

Take 100 pieces of white paper and draw a single straight line on each. Think carefully about how you compose each piece – how thick is the line? How long? what angle? How is it framed by the paper? What size and shape paper? What type of paper? How do you arrange the 100 sheets?

Do not try to make this a narrative project, or to complicate it. It is a very precise compositional exercise and will again be very useful to you.

Kester’s variant is to draw the same line on 100 different pieces of paper. This is much harder exercise and you might try it if you have time.

Presentation: Thursday Oct 4

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