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01EE10 03 Lecture 151014 B Kalara Grammi PDF
01EE10 03 Lecture 151014 B Kalara Grammi PDF
though
I
am
best
known
for
my
drawings,
and
have
spent
many
years
as
a
teacher
of
architects,
I
have
never
taught
drawing.
The
reason
is
that
each
person
who
wants
to
draw
should
devise
his
or
her
own
way.
It
makes
no
sense
to
teach
a
method
or
style
of
drawing,
because
drawing
is
a
way
of
thinking,
and
it
would
be
wrong
to
didac<cally
teach
a
method
or
style
of
thinking.
Each
person
must
learn
from
the
drawers—and
the
thinkers—who
appeal
most
to
them,
and
then
devise
their
own
ways.
Originality—in
drawing
and
thinking—is
important,
for
the
same
reasons
that
individuality
in
all
ma?ers
of
existence
is
important:
it
confirms
the
wonder,
and
the
terror,
of
the
human
condi<on.
Essen<ally,
each
of
us
is
alone.
Biologically
and
psychically
we
are
not
only
separate
from
other
living
things,
but
also
from
others
of
our
kind.
We
cannot
feel
or
think
what
another
person
feels
or
thinks,
nor
can
they
know
exactly
our
feelings
or
thoughts.
Because
we
are
social
creatures
and
dependent
upon
each
other,
we
spend
much
of
our
<me
and
energy
trying
to
communicate
our
thoughts
and
feelings,
and
also
to
understand,
as
deeply
as
possible,
those
of
others.
It
is
a
uniquely
human
task
and
one
that
requires
all
our
intellectual
effort,
emo<onal
commitment,
and
expressive
skills.
Spoken
and
wri?en
languages
are
the
foremost
of
these,
but
drawing—in
all
its
variants—runs
a
close
second.
Indeed,
as
we
know,
there
are
ideas
and
feelings
that
can
only
be
expressed
in
drawn
form.
We
might
imagine,
if
we
look
at
the
caves
of
Lascaux,
that
drawing
came
before
wri<ng
and
was,
in
its
narra<ve
making
of
marks,
its
source.
When
very
young,
let’s
say
in
my
late
teens
and
twen<es,
I
had
a
fierce
desire
to
communicate
my
thoughts
and
feelings
through
drawing.
In
high
school
I
had
some
mechanical
drawing
courses,
where
I
learned
to
use
t-‐square
and
triangles,
but
li?le
else.
For
inspira<on,
I
had
to
look
in
magazines
and
art
books.
I
was
tremendously
moved
by
the
etchings
of
Francisco
Goya,
the
drawings
of
Peter
Brueghel,
the
ink
and
watercolor
drawings
of
Paul
Klee.
And,
of
course,
the
drawings
of
Michelangelo
BuonaroR
and
Leonardo
Da
Vinci.
Each
ar<st
conveyed
something
different
in
their
work,
something
that
resonated
with
my
own
sensibility,
but
did
not
sum
it
up.
Different
as
these
ar<sts
were,
they
all
had
one
thing
in
common:
a
mastery
of
line.
What
I
mean
by
‘line’
is
exactly
that:
a
single
mark,
short
or
long,
drawn
with
a
pen,
pencil,
stylus,
or
any
sharply
pointed
instrument
that
is
held
in
the
hand
and
commanded
by
it,
in
coordina<on
with
the
brain,
to
inscribe
on
paper,
tablet,
plate,
or
any
chosen
surface
exactly
that
mark
and
not
another.
This
last
qualifica<on
is
important.
When
rubbing
a
piece
of
charcoal,
pastel,
or
blunt
pencil
on
a
surface,
one
accepts
(even
hopes
for)
a
certain
degree
of
approxima<on,
even
of
accident.
The
resul<ng
tone
is,
from
an
analy<cal
point
of
view,
vague,
when
compared
with
line.
Line
is
precise
and
unequivocal.
It
is
here,
not
there.
Making
a
line
is
not
about
accidents.
Rather,
it
is
about
contour,
edge,
shape.
It
is
about
where
one
space
begins
and
another
ends.
It
can
be
spontaneous
or
studiously
deliberate,
but
it
always
carves
space
in
a
decisive
way.
It
has
a
clear
ethical,
as
well
as
aesthe<c,
impact.
The
drawn
line
is
one
of
the
great
human
inven<ons,
and
it
is
available
to
all
of
us,
a
tool
both
common
and
esoteric,
personal
and
universal.
LEBBEUS
WOODS
Η Πληροφορία της γραμμής
Γραμμή/Γραφή/Υφή
Η γραμμή ως γραφή
Επανάληψη ενός τρόπου γραφής (γραφισμός)
Οι γραφισμοί ως υφές
Η γραμμή ως κίνηση, ενέργεια και ρυθμός
Οπτικά κείμενα
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h?p://www.acegallery.net/ar<stmenu.php?Ar<st=8
Louise
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h?ps://www.youtube.com/watch?v=UBy71FdEip4
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