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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.

Anatomy is of little use to the student if he has not grasped how to draw form, but it helps him to invent form. Without an understanding of how to invent, we can only make flat plans of the anatomy inside the outline; but once the drawing of bones and structure has been understood, all the anatomy that the student knows may be to his advantage. An artist must know as much science as he can use. If he knows more, there is a chance that sciences will use him. It is the structure of the body he must grasp and the way anatomy works. Knowing the parts by name is merely a convenience. If we can master Figure Drawing, even to a limited extent, we shall be well prepared to draw anything, and of all things in nature we are most critical of the human body round which there are gathered the deepest associations of idealism and instinct. However, the ideal in Art and in Nature is best understood as a standard from which to deviate, rather than as a scheme to impose on form. Rules are made to be broke, but they cannot be broken until they are understood. The creative force is given to few, but each one of us, layman or artist, cherishes a spark that may - who knows - start in another artist a conflagration. Then whether the work produced the trivial or profound, the student of "Life" may give thanks that he pursues an ageless quest of inexhaustible allure,

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M.Sc (Computer Science) / Facial modelling and animation is considered one of the most challenging areas in the animation world. Since Parke and Waters’s (1996) comprehensive book, no major work encompassing the entire field of facial animation has been published. This thesis covers Parke and Waters’s work, while also providing a survey of the developments in the field since 1996. The thesis describes, analyses, and compares (where applicable) the existing techniques and practices used to produce the facial animation. Where applicable, the related techniques are grouped in the same chapter and described in a chronological fashion, outlining their differences, as well as their advantages and disadvantages. The thesis is concluded by exploratory work towards a talking head for Northern Sotho. Facial animation and lip synchronisation of a fragment of Northern Sotho is done by using software tools primarily designed for English. / Computing

Mainstream cinema is to an ever-increasing degree deploying digital imaging technologies to work with the human form; expanding on it, morphing its features, or providing new ways of presenting it. This has prompted theories of simulation and virtualisation to explore the cultural and aesthetic implications, anxieties, and possibilities of a loss of the ‘real’ – in turn often defined in terms of the photographic trace. This thesis wants to provide another perspective. Following instead some recent imperatives in art-theory, this study looks to introduce and expand on the notion of the human figure, as pertaining to processes of figuration rather than (only) representation. The notion of the figure and figuration have an extended history in the fields of hermeneutics, aesthetics, and philosophy, through which they have come to stand for particular theories and methodologies with regards to images and their communication of meaning. This objective of this study is to appropriate these for film-theory, culminating in two case-studies to demonstrate how formal parameters present and organise ideas of the body and the human. The aim is to develop a material approach to contemporary digital practices, where bodies have not ceased to matter but are framed in new ways by new technologies.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Arts, 1999.

The master thesis is focused on a special pedagogical topic and observes how disrupted communication impacts on children's drawing. The thesis consists of two parts - theoretical and practical part. The first one is about the theoretical findings, which proceed from the professional literature. There are the parts here regarding communication, speech and language and the disrupted communication ability - most concentrated on a question of developmental dysphasia. The close attention has been paid to children in their younger school age, their communication abilities, their drawing ability and graphomotor activity. The practical part of this master thesis has been formed by a qualitative survey realized with children at elementary schools and their home environment. Different methods and techniques - interviews, observation, case interpretation and analysis of activity results. The main objective of this thesis is to to find out and to describe - how the disrupted communication ability of children - specifically developmental dysphasia is projected into children drawing. The corresponding demonstration has been based on a comparison between drawings of pupils with communication problems and drawings of children without any communication problems. KEYWORDS Graphomotorics, communication, drawing,...

Made available in DSpace on 2016-03-15T19:42:25Z (GMT). No. of bitstreams: 1 Alexandre Jubran.pdf: 12003887 bytes, checksum: 18ee75f99ed7d8171a579046e6f6d9bd (MD5) Previous issue date: 2013-02-25 / The present work discusses the learning process of free hand drawing and particularly of the human figure drawing and languages and methodologies of that form of expression, and design models aimed at visual arts students. The reading texts related to the design and its meaning, the cognitive aspect and philosophies applied to the study of the figure gives the basis for reading lines of human object, offering a contemporary look to this as a learning experience, coupled with possible references to understanding of general forms of learning design, as well as its pedagogy. Besides the introduction and endnotes, the dissertation has five parts, dealing with topics such as drawing lines and their historical and contemporary models coexisting, learning through the assimilation of these, and the possible place of technique and proportions of the design considerations with design pedagogy, the teacher as mediator and systematization of the development process of the author as a teacher of classes drawing freehand. / O presente trabalho discute o processo de aprendizagem do desenho à mão livre e particularmente do desenho da figura humana e as linguagens e metodologias nessa forma de expressão; e modelos de desenho dirigidas a estudantes de artes visuais. A leitura de textos relacionados ao desenho e a seu significado, o aspecto cognitivo e filosofias aplicadas ao estudo da figura dão a base para linhas de leitura do objeto humano, que propõem um olhar contemporâneo para esse aprendizado como experiência pessoal, somada a possíveis referências para a compreensão das formas gerais de aprendizado do desenho, bem como de sua pedagogia. Além da introdução e das notas finais, a dissertação é estruturada em cinco partes, tratando de temas como linhas de desenho e seus modelos históricos e contemporâneos coexistentes; o aprendizado por meio da assimilação destes; e o lugar possível da técnica e das proporções do desenho com considerações sobre a pedagogia do desenho, o professor como mediador e a sistematização do processo de desenvolvimento do autor como professor de turmas de desenho à mão livre.

Made available in DSpace on 2016-04-29T14:22:54Z (GMT). No. of bitstreams: 1 Fabio Luiz Livramento Barretto Musarra.pdf: 87891670 bytes, checksum: f4c2fd61c79ce223778948a7cbc9d63e (MD5) Previous issue date: 2011-06-15 / This research investigates the artistic-ontological fundaments of the Human Figure conception, choosing its history and describing the thematically evolution which tangents the human being image conception. Analyzing the evolution process in the paintings and Greek sculpture, discusses its influences in works from the Masters of the Renaissance, who are considered as the source of current concepts in the tridimensional modeling area of the human figure. From this context, the ontological properties are organized and they regulate the modeling of the human figure inside the digital environment of the tridimensional modeling software, based in a derivative pragmatic of a tophilosophical position. Inside this perspective introduces and defines the concept of the character, establishing it to the methodological process of the tridimensional modeling of the human figure. As the object of this research, it is dedicated the sequential and normative exposition of a character modeling, structuring its steps and its ontological organization from its conceptual properties, showing its connection and fundament in the tradition of the Renaissance Masters. It is accomplished the application of the concept of tridimensional modeling of characters in the presentation of digital artists innovation in the current representation of the human figure, which suits as a base to the tridimensional to the composition of games and metaverses characters. It concludes with the exposition and proposal of a pragmatic that can guide the character modeling to the Digital Design of Interactive Environments / A pesquisa investiga os fundamentos ontológico-artísticos da concepção da Figura Humana, elencando seu histórico e descrevendo a evolução temática no que tange à concepção da imagem do ser humano. Analisando o processo evolutivo nas pintura e escultura gregas, discute sua influência em trabalhos dos Mestres do Renascimento, os quais são considerados como as fontes dos atuais conceitos na área de modelagem tridimensional da Figura Humana. A partir deste contexto, organiza as propriedades ontológicas que regulam o trabalhos de modelagem da figura humana dentro do ambiente digital do software de modelagem tridimensional, com base em uma pragmática derivada de uma posição topofilosófica. Dentro dessa perspectiva introduz e define o conceito de caractere, estabelecendo-o para o processo metodológico da modelagem tridimensional da Figura Humana. Como objeto modelo da pesquisa, dedica-se a exposição sequencial e normativa da modelagem de um caractere, estruturando seus passos e a sua organização ontológica de suas propriedades conceituais, mostrando seu vínculo e fundamento na tradição dos Mestres do Renascimento. Realiza a aplicação do conceito de modelagem tridimensional de caracteres na apresentação das inovações de artistas digitais na representação atual da figura humana, as quais servem de base para as modelagens tridimensionais para a composição de personagens nos games e metaversos. Finaliza com a exposição e proposta de uma pragmática que possa nortear a modelagem de caracteres para o Design Digital de Ambientes Interativos