Aşamalı iki boyutlu ve üç boyutlu kişisel yapıtın görsel tasarım analizi
Gradual design analysis of two and three dimensional personal work of art
- Tez No: 53444
- Danışmanlar: PROF. ÖZDEMİR ALTAN
- Tez Türü: Yüksek Lisans
- Konular: Güzel Sanatlar, Fine Arts
- Anahtar Kelimeler: Görsel tasarım, Renkler, Resimler, Çizgi, Visual design, Colors, Pictures, Line
- Yıl: 1996
- Dil: Türkçe
- Üniversite: Mimar Sinan Güzel Sanatlar Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: Belirtilmemiş.
Özet
SUMMARY This study is not an aim solely to acrutinize any specific periods or trends in History of Art, but an attempt to portray works of art and artistic endeavors as based on periods and works produced. Thanks to our sense of sight, we appreciate abundance of new horizons of an artists thrown wide open by color theme, the foundation stone of our visual life. Since the dawn of man, playful mixture of natural colors enveloping us, has constituted the most adored medium of the artist to enable it to explain itself on surface. The figure positively let itself felt in conjunction with line, is translated with the words of Aristotle as a restriction of apperance with design. When we need to add meaning of such restriction, color theme first comes into play. The surface restricted with line is further enriched with color. A two dimensional blank space, to be able to create an aesthetic energy over such space, is always immorally frightening the artist. Regardless of the surface, paper, canvass, photograph paper, the screen, TV- dilemma to create aesthetic energy, canalize the artist to make or be able to make certain preferences over the surface. Such individual preference of the artist, is especially prominent at art of painting and photography. Determination by the artist the dimensions of its surface in perpendicular and horizontal means, in other words, physical restriction of surface by the artist, would, unequivocally closely related to human sight. Physical determination of dimensions of the canvass is closely related to personal choice of the artist. The act of technically confining the space on a two dimensional surface is first of all realized in mind of the artist. In this sence, the painter of photographer, is free from all bondage. He/she may imagine perpendicular or horizontal restriction as large or as small as it can be. VllI subscribe to Klee's idea as to the artist can not determine basics of his/her work of art but leave it for mature as itself. Result may become extremely appalling to a novice, but if such a person relinquishes his/her prejudices, and lets his/her imagination run free, then, it may be possible to share the strange dream of the artist. Now we returned to our starting point. There is nothing such as art. There only are artists; there are men and women attributed which ingrained faculties who always ready to brush aside all sorts of superficial success even though faced with immense difficulties and pain which are called for an intrinsically beautiful work, who are ready to courageously refuse all sorts of partial solutions, the people bestowed with the gift of balancing form and color“immaculately”up to the peaks of perfection no matter how seldom one encounters them. We believe that such artists shall live and roam on this earth to perfect its ways and means. But, survival of art to a preat degree depends on us the spectators. We may determine the results with our sincere interest or carelessness. Lest the chain of tradition is broken and to let our artists further ornate it, we must exert all our means to contribute to the art and ways of art. Vlll
Özet (Çeviri)
SUMMARY This study is not an aim solely to acrutinize any specific periods or trends in History of Art, but an attempt to portray works of art and artistic endeavors as based on periods and works produced. Thanks to our sense of sight, we appreciate abundance of new horizons of an artists thrown wide open by color theme, the foundation stone of our visual life. Since the dawn of man, playful mixture of natural colors enveloping us, has constituted the most adored medium of the artist to enable it to explain itself on surface. The figure positively let itself felt in conjunction with line, is translated with the words of Aristotle as a restriction of apperance with design. When we need to add meaning of such restriction, color theme first comes into play. The surface restricted with line is further enriched with color. A two dimensional blank space, to be able to create an aesthetic energy over such space, is always immorally frightening the artist. Regardless of the surface, paper, canvass, photograph paper, the screen, TV- dilemma to create aesthetic energy, canalize the artist to make or be able to make certain preferences over the surface. Such individual preference of the artist, is especially prominent at art of painting and photography. Determination by the artist the dimensions of its surface in perpendicular and horizontal means, in other words, physical restriction of surface by the artist, would, unequivocally closely related to human sight. Physical determination of dimensions of the canvass is closely related to personal choice of the artist. The act of technically confining the space on a two dimensional surface is first of all realized in mind of the artist. In this sence, the painter of photographer, is free from all bondage. He/she may imagine perpendicular or horizontal restriction as large or as small as it can be. VllI subscribe to Klee's idea as to the artist can not determine basics of his/her work of art but leave it for mature as itself. Result may become extremely appalling to a novice, but if such a person relinquishes his/her prejudices, and lets his/her imagination run free, then, it may be possible to share the strange dream of the artist. Now we returned to our starting point. There is nothing such as art. There only are artists; there are men and women attributed which ingrained faculties who always ready to brush aside all sorts of superficial success even though faced with immense difficulties and pain which are called for an intrinsically beautiful work, who are ready to courageously refuse all sorts of partial solutions, the people bestowed with the gift of balancing form and color“immaculately”up to the peaks of perfection no matter how seldom one encounters them. We believe that such artists shall live and roam on this earth to perfect its ways and means. But, survival of art to a preat degree depends on us the spectators. We may determine the results with our sincere interest or carelessness. Lest the chain of tradition is broken and to let our artists further ornate it, we must exert all our means to contribute to the art and ways of art. Vlll
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