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Inspiration de signalétique

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Dessins de branches sur papier

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Depuis février 2023.
Avec ma collègue Nelly-Ève Rajotte, nous suivons une formation privée sur le logiciel Blender. Formateur : Bruno de Coninck

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À partir d'un dessin, j'ai gravé une forme plane dans Blender

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Voici la matrice inversée de l'image

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Cette vue me fait penser aux motifs de dentelle et de broderie

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Enregistrement des mouvements de la souris - Io Graphica

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Enregistrement des mouvements de la souris - Io Graphica

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Modélisation de ronces

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Jan van Huysum, Flowers in a Vase with Crown Imperial and Apple Blossom at the Top and a Statue of Flora 1731-2.

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▶ Veille artistique : les bouquets simulés de Jan van Huysum 

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▶ Veille artistique : les bouquets simulés de Jan van Huysum 

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Les bouquets de ce peintre étaient qualifiés d'illusions, car il peignait ensemble des fleurs dont les fleuraisons n'étaient pas similaires. J'aimerais faire un gros bouquet comme cela, mais en 3D.
« But Van Huysum’s flower bouquets are illusions. Flowers in a Vase (pictured) contains over 30 different flowers, including many non-native species, which bloom at various times of year, making it impossible that they could have been seen together. To achieve such a bouquet, Van Huysum painted his works over the course of one or two years as the flowers came into season» Source : www.dulwichpicturegallery.org

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Rino Stefano Tagliaferro, ITA, 2014, HD, 10

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▶ Veille artistique : la lenteur des tableaux animés de Rino Stefano Tagliaferro

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▶ Veille artistique : la lenteur des tableaux animés de Rino Stefano Tagliaferro

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Beauty, réalisation de Rino Stefano Tagliaferro, 2014. J'aime le fait que ce soit très lent, et j'imagine un tableau comme un motif à partir de ces éléments qui s’animeraient très lentement, en permettant aux ronces de pousser et aux fleurs d’éclore.

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Beauty
Rino Stefano Tagliaferro,  ITA, 2014, HD, 10
Concorso Cortometraggi / Short Film Competition

Montagne incorniciate dai boschi, animali in armonia, madri liete e figli rubizzi, giovani sani e rigogliosi; poi, il corpo diventa oggetto del desiderio, l’equilibrio si incrina, carne e sangue scoprono la propria transitorietà. Incantesimo visivo fatto di dipinti celebri, raccordati in due anni di lavoro certosino.
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Mountains framed by woods, animals living in harmony, content mothers and sprightly children, healthy and flourishing youngsters; then, the body becomes an object of desire. The balance crumbles, and flesh and blood discover just how transient they are. A bewitching visual piece made up of famous paintings, brought together in two years of delicate work.

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▶ Veille artistique : les feuillages de Gustav Klimt

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▶ Veille artistique : les feuillages de Gustav Klimt

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Gustav Klimt, The Parc, vers 1910

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Provenance Research Project

This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.

Gustav Klimt (1862-1918), Vienna
Klimt Estate / Emilie Fläge [Floege] (Klimt's friend, and executor of the estate), Vienna. 1918 - c. 1930
Dr. Otto Kallir (1894-1978) / Neue Galerie, Vienna, and Galerie St. Etienne, New York. Acquired from Klimt Estate through Emilie Fläge, c. 1930 - 1957
The Museum of Modern Art, New York. Acquired from Dr. Otto Kallir (Galerie St. Etienne), New York, with the Gertrud A. Mellon Fund, February 27, 1957 - 1978
Serge Sabarsky Gallery, New York. Purchased from MoMA, June 26, 1978
The Museum of Modern Art, New York. Purchased from Sabarsky, October 10, 1978

Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to:

Provenance Research Project
The Museum of Modern Art
11 West 53 Street
New York, NY 10019

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Gustav Klimt. The Park. 1910 or earlier | MoMA

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Provenance Research Project This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection. Gustav Klimt (1862-1918), ViennaKlimt Estate / Emilie Fläge [Floege] (Klimt's friend, and executor of the estate), Vienna. 1918 - c. 1930Dr. Otto Kallir (1894-1978) / Neue Galerie, Vienna, and Galerie St.

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Saule près de l'île Saint-Bernard

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Érable

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▶ Veille artistique : les points de vue de Georgia O'Keeffe

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▶ Veille artistique : les points de vue de Georgia O'Keeffe

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Georgia O'Keeffe, The Lawrence tree, 1929

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▶ Veille artistique : les formes tubulaires de Vickie Vainionpää

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▶ Veille artistique : les formes tubulaires de Vickie Vainionpää

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Vickie Vainionpää

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Soft Body Dynamics -
Info

The Soft Body Dynamics series considers the impact of technology on the process of painting, aiming to facilitate a dialogue between traditional painterly tropes and new digital means of reading space and content. All works are oil on linen or canvas. Their forms are derived from autonomously generated splines in 3D modelling software

Studies
All 14"18" Oil on linen

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Soft Body Dynamics -Info The Soft Body Dynamics series considers the impact of technology on the process of painting, aiming to facilitate a dialogue between traditional painterly tropes and new digital means of reading space and content. All works are oil on linen or canvas.

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▶ Veille artistique : les arbres de Lucian Freud

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▶ Veille artistique : les arbres de Lucian Freud

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Lucian Freud
Elm Tree, after Constable, 2003 (etching on paper)

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▶ Veille artistique : les topographies de Camille Grandval

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▶ Veille artistique : les topographies de Camille Grandval

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Camille Grandval
Micro/Macro Topographies
https://www.grandvalcamille.com/Micro-Macro/TOPOGRAPHIES

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▶ Veille artistique : les traits de Vera Molnar

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▶ Veille artistique : les traits de Vera Molnar

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Vera Molnar
Interruptions à recouvrements (Disturbances through overlappings). 1969. Encre sur papier. Collection Anne and Michael Spalter. © 2010 Artist Rights Society (ARS), New York/ADAGP, Paris

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▶ Veille artistique : les dessins aveugles de Ellsworth Kelly

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▶ Veille artistique : les dessins aveugles de Ellsworth Kelly

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Ellsworth Kelly Dessin "aveugle" de pin Automatic Drawing: Pine Branches V. 1950

Pencil on paper, 16 1/2 x 20 1/4" (41.9 x 51.4 cm). Private collection. © 2010 Ellsworth Kelly

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Exposition
ON LINE. Drawing Through th Twentieth Century. 21 novembre 2010 au 7 février 2011, MOMA, NY

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Drawing conventionally has been associated with pen, pencil, and paper, but artists have drawn lines on walls, earth, ceramics, fabric, film, and computer screens, with tools ranging from sticks to scrapers to pixels. Looking beyond institutional definitions of the medium, On Line (on view from November 21, 2010 to February 7, 2011) argues for an expanded history of drawing that moves off the page into space and time. Comprising the work of more than one hundred artists, the exhibition charts the radical transformation of the medium between 1910 and 2010, as artists broke down drawing to its core elements, making line the subject of intense exploration: as the path of a moving point or a human body in motion (the dancer tracing dynamic lines across the stage, the wandering artist tracing lines across the land), as an element in a network, and as a boundary-political, cultural, or social.

On Line is organized chronologically in three sections: Surface Tension, featuring the artistic drive to construct and represent movement through line within the flat picture plane; Line Extension, composed of works in which lines extend beyond flatness into real space-that is, into social space; and Confluence, presenting works in which line and background are fused, giving greater significance to the space between lines. In following the development of the meaning of line over the last one hundred years, the exhibition traces it in movement, across disciplines, and as it has been drawn out and rewoven in time and space-inevitably reflecting the interconnection and interdependency that are increasingly both shaping and emerging from a globalized society. Line, like thought, once understood as linear and progressive, has evolved into a kind of network: fluid, simultaneous, indefinite, and open.

This first section explores artists' drive to construct and represent movement through line within the flat picture plane, including examples of the Futurist exploration of speed and movement in form around 1910, and the advent of Cubist collage, originating in 1912- considered a first attempt to move from the imaginary surface of representation to the space of the real world. The desire for space in the plane of the surface was further explored in the open-form concept of the Russian Constructivists, who, by the early 1920s, expanded the notion of sculptural form through their exploration of new materials. At the same time, Kurt Schwitters's Merzbau (begun early 1920s, destroyed 1943) is a critical example of an investigation of form and space; the artist occupied several rooms on various floors of his house in Hannover with abstract forms.

Works in this section play with lines that extend beyond flatness into real space-that is, into social space. Alexander Calder's three-dimensional forms are drawn in space with wire lines. Luciano Fontana's famous holes and linear cuts allow line to escape from the prison of the flat surface. In the early fifties, artists such as Robert Rauschenberg, Ellsworth Kelly, and Cy Twombly focused attention on the dynamics of the line itself, removed from authorship. Whereas some artists were interested in the absence of lines as gaps that activate a surface, others, like Anna Maria Maiolino and Pierrette Bloch, became increasingly preoccupied by the material presence of the line in actual space, refocusing on the dialogue between the two-dimensional plane and three-dimensional space. Concurrent with this radical and non-formal experimentation was the work of artists such as Edward Krasinski and Karel Malich in Eastern Europe and Lygia Clark in Latin America.

In the exhibition's final section, artists push their lines, both literally and conceptually, out into the "real" world: onto the walls of buildings (Giuseppe Penone's site-specific drawing Propagazione), into the earth (Michael Heizer's large-scale works in the landscape), and into the spaces of our daily life (Joelle Tuerlincxx's sculptures of found materials). Another common theme, grids and networks of overlapping lines, can be seen in works by Agnes Martin, Cildo Meireles, and Mona Hatoum. The works in this section ultimately stress interdependency-between surface and space, between present and past, and primarily between the line and the support. These works prove that a single mark can articulate and alter the understanding of the ground itself, an idea implicit in every day of lived experience.

On Line: Drawing and Film

On Line: Drawing and Film, held in conjunction with the gallery exhibition On Line: Drawing Through the Twentieth Century, presents films from MoMA's collection by artists whose work redefines the very parameters of drawing through an investigation of the line, both static and kinetic.

The intersection between the world and the line, both as a visual element and a rich metaphor for life, can be found in numerous films, from the dawn of cinema in the late 19th century to the present. Early animation-a film technique that springs directly from the medium of drawing-succeeded in the activation of the drawn line, as in Winsor McKay's Gertie, the Dinosaur (1914). Despite subsequent technical advances, many artists have chosen to continue to reveal the connection between drawing and film; they paint, scratch, and manipulate the physical material of film to create abstract lines and patterns, which sometimes stand alone as moving drawings. In other films, these drawn lines are forced into the cinematic world created by the filmmaker, as an active backdrop for artistic intervention. Then there are films in which the line functions symbolically, referring to the various trajectories of the world at large through spiritual and physical travel, such as Bill Morrison's Night Highway (1990). The passage of time, the marks left in our landscape, and lines drawn to both join and separate us from each other simultaneously provoke fascination and repulsion, as in A Season Outside (1998) by Amar Kanwar. The manipulation of line as cinematic subject was often inspired by the movement of the body, as in Circles I (1971)-a dance film by Doris Chase-and the syncopated, choreographed abstract imagery of Mary Ellen Bute's Tarantella (1940). Contemporaneously, the transformation of the line (or a crossing of multiple lines to form a grid) injects the limits of the exterior world into the interior of the work of art. The first wave of computer generated films, especially those made at the Bell Telephone Laboratories in Murray Hill, New Jersey, in the early 1960s-such as Computer Generated Ballet (c.1965) by researcher A. Michael Noll-explores the subject of "dancers" on a computer grid.

This exhibition includes films by Yann Beauvais (French, b. 1953), Stan Brakhage (American, 1933-2003), Robert Breer (American, b. 1926), Mary Ellen Bute (American, 1906-1983), Doris Chase (American, 1923-2008), Jim Capobianco (American, b. 1969), Walt Disney (American, 1901-1966), Ed Emshwiller (American, 1925-1990), valie export (Austrian, b. 1940), Harun Farocki (German, b. Czechoslovakia 1944), Emily Hubley (American, b. 1958), Amar Kanwar (Indian, b. 1964), Bernard Longpre (Canadian, 1937-2002), Len Lye (New Zealander, 1901-1980), Norman McLaren (Canadian, b. Scotland 1914-1987), Bill Morrison (American, b. 1965), David Piel (American, 1926-2004), Yvonne Rainer (American, b. 1934), Randy Rotheisler (Canadian, b. 1953), Carolee Schneemann (American, b. 1939), Zdenek Smetana (Czech, b. 1925), Stuart Sherman (American, 1945-2001), Alia Syed (British, b. 1964), and Steven Yazzie (American, b. 1970).

Exhibition Credits

On Line is organized by Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art, and Catherine de Zegher, former Director, The Drawing Center, New York, with the assistance of Esther Adler, Curatorial Assistant, Department of Drawings, The Museum of Modern Art, New York.

The exhibition and accompanying performance series are made possible by MoMA's Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, The International Council of The Museum of Modern Art, Maja Oeri and Hans Bodenmann, The Contemporary Arts Council of The Museum of Modern Art, and the Robert Lehman Foundation.

Website Credits

Department of Drawings
Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings
Esther Adler, Curatorial Assistant

Department of Digital Media
Allegra Burnette, Creative Director
Jessica Croce, Digital Media Intern
Shannon Darrough, Senior Media Developer
David Hart, Media Producer
Dan Phiffer, Web Developer

Editorial
Jason Persse, Associate Editor

If a line is the trace of a point in motion, a human figure moving through space is drawing in air. This program of performances, organized in conjunction with the exhibition On Line: Drawing Through the Twentieth Century and MoMA's ongoing Performance Exhibition Series, moves drawing into three dimensions.

Choreographer Trisha Brown (American, born 1936) experiments with space, gravity, and the orientation of the body. She was an essential contributor to the development of postmodern dance in the early 1960s, an innovation associated with New York's Judson Dance Theater. At MoMA the Trisha Brown Dance Company, which celebrated its fortieth anniversary in 2010, will perform the early works Sticks (1973), Scallops (1973), and Locus Solo (1975) and premiere Roof Piece Re-Layed (2011), based on Roof Piece (1971).

The work of Marie Cool (French, born 1961) and Fabio Balducci (italian, born 1964) is rooted less in the tradition of performance art than in sculpture, painting, and drawing. The artists' actions are composed from an inventory of simple, reductive gestures initiated by the physical properties of ordinary materials, such as string, paper, or a piece of Scotch tape. Their work will be on view continuously throughout their three-day appearance at MoMA.

Anne Teresa De Keersmaeker (Belgian, born 1960) is one of the most prominent choreographers in contemporary dance. Throughout her career she has focused on the relationship between music and dance and also repeatedly ventured into the realms of text and visual art. The minimalist music of composer Steve Reich (American, born 1936) inspired De Keersmaeker's seminal work Fase: Four Movements to the Music of Steve Reich (1982). She will perform "Violin Phase" (an excerpt from Fase), dancing on sand, her movements creating a large circular drawing on the Atrium floor.

New York-based artist Ralph Lemon (American, born 1952) works across the disciplines of dance, film, and visual arts. In Untitled (2008), which Lemon created for himself and long-time collaborator Okwui Okpokwasili (American, born 1972), he explores the body's ability to push beyond technique and training, exhaustion and exhilaration, to movements unfettered by control, rationality, and reflex. The result is a quiet, harrowing duet that investigates connection and division between two bodies.

Over the last decade, choreographer Xavier Le Roy (French, born 1963) has opened up new perspectives in the world of dance. Trained as a molecular biologist, he approaches his work scientifically, starting with a single idea or question. He will present his groundbreaking work Self Unfinished (1998), conceived in collaboration with Laurent Golding, which is concerned with the representation of the body; in it he morphs through bodily configurations, deviating as far as possible from an identifiable human figure.

Reservations are required. See MoMA.org/performance15 for details.
The performance contains nudity.

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On Line: Drawing Through the Twentieth Century

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On Line explores the radical transformation of the medium of drawing throughout the twentieth century, a period when numerous artists subjected the traditional concepts of drawing to a critical examination and expanded the medium's definition in relation to gesture and form.

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Paul Nash, The Cherry Orchard, 1917

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Catalogue entry

T01946 THE ORCHARD ?1914

Inscribed 'Nash' and monogram b.r.
Watercolour, ink and pencil, 22 1/2×18 (57.1×45.8)
Purchased from The Fine Art Society Ltd (Grant-in-Aid) 1975
Coll: Sold Sotheby's, London, April 7 1971 (70), bt. Hamet Gallery; Peyton Skipworth
Exh: Paul Nash, Hamet Gallery, May 1973 (4, repr.); Paul Nash: Paintings and Watercolours, Tate Gallery, November-December, 1975 (33, repr.) as ?'The Cherry Orchard' 1917

The original title and date of this work are not known. On several occasions or watercolours by Paul Nash which included 'Orchard' in their titles were exhibited before 1920. They are:

1. 'Study for a Design: the Orchard' shown in the London Group exhibition, March 1915 (37)

2. 'Drawing of an Orchard' shown in the London Group exhibition in November 1916 (66)

3. 'Drawing of an Orchard' shown in the exhibition of drawings by Nash at the Birmingham Repertory Theatre in September 1917 (6), (in a copy of the catalogue for the Birmingham exhibition at the Victoria and Albert Museum Library this title is annotated in Margaret Nash's hand '1916' and 'J.D.' indicating that it was bought by John Drinkwater

4. 'Moonrise over Orchard' also shown in the Birmingham exhibition (12) as lent by John Drinkwater (catalogue in the V. & A. Library is annotated by Margaret Nash '14 1/2×16 1/2 1914')

5. 'The Cherry Orchard' shown in the London Group exhibition in November 1917 (76)

6. 'Orchard' shown in Nash's exhibition of drawings at 9 Fitzroy Street in November-December 1919 (6) (in the catalogue in the V. & A. Library this title was annotated by Margaret Nash 'Dr W.H. Davies').

The only drawing of an orchard that can be identified with near certainty is the 'Drawing of an Orchard' shown at Birmingham in 1917, which is reproduced (5) as 'Orchard' as belonging to John Drinkwater in Anthony Bertram's Paul Nash 1923. This drawing was shown in the 1975 Tate Gallery Paul Nash: and Watercolours exhibition (29) and dated by Andrew Causey as 1914.

In the bottom right-hand corner of are depicted snowdrops in flower. Nash mentioned orchards and snowdrops more than once in his correspondence with Gordon Bottomley in the years 1911-18, printed in Poet and Painter: being the Correspondence between Gordon Bottomley and Paul Nash 1910-46 ed. Claude Colleer-Abbott and Anthony Bertram, London 1955. Nash wrote from Iver Heath, Bucks, to Bottomley on 20 February 1911 (Abbott op.cit, p.17): '... The lanes are exciting beyond words to anyone who looks for "signs" and on Saturday I saw a beautiful sight-an orchard where bunches of snowdrops grew in the grass-somehow a thing like snowdrops wild in the grass took my breath away'. Less than two months later on 4 April 1911 Bottomley wrote to Nash (Abbott op.cit, p.18) 'You have done a most delightful cover design for "Snowdrops" which brings me to the drawings'. In a letter to Bottomley from Chalfont St Peter, Bucks, dated 16 July 1918 Nash wrote: 'They [John Nash and his wife] live in rooms in a little house next to the shed and Bunty and I have a room in the old farm-a charming place with a wonderful cherry orchard and fine old barns and sheep and rabbits and all that sort of thing' (Abbott op.cit, p.99).

In his catalogue entry for T01946 in the 1975 Tate exhibition, Andrew Causey gave the work the title of 'The Cherry Orchard', with a query, and dated it as being 1917, identifying it with the work shown in the November 1917 London Group exhibition. In Causey's view: '... the style and mood fit the date as well as can be calculated on the basis of the very few pictures other than war ones which exist for the years 1916-17. "The Cherry Orchard" was made at John Drinkwater's home, Winston's Cottage, Far Oakridge, Gloucestershire, where Nash went in July 1917, partly to plan the exhibition that Drinkwater arranged for him at the Birmingham Repertory Theatre in September. In a letter of 26 July, after the visit, Nash told Drinkwater that he was submitting the picture to the London Group. In July 1917 Nash had recovered from his injury at the front in May, but did not yet know that his return would be in the role of an official artist. This might help to account for the extraordinary tense imagery of the picture which seems more a later winter than a summer design'.

To the compiler, Causey's arguments for July being the date of execution for T01946 are unconvincing. The trees are depicted leafless and at the bottom right snowdrops are in bloom. In July the trees would have been covered with foliage. It would perhaps have been difficult to draw them bare with such accuracy so that they could be identified as cherry trees, as they have been by a botanist at Kew, Dr Bernard Verdcourt (letter to the compiler 2 September 1975).

It seems more likely that T01946 dates from 1914 for it has points in common with works of that year. In T01946 the fence and ditch are parallel to the picture plane as is the fence in 'The Elms' 1914 (Walker Art Gallery, Liverpool) and the hedge and line of trees in 'Trees and Shrub' 1914 (Rutherston Loan Collection, Manchester City Art Gallery). Furthermore as in 'Trees and Shrub' the outlines of the trees are sharply clipped as they are too in T01946. In 'The Elms' there is a brown band of watercolour, depicting the middle distance, across the picture; a similar band of brown runs across T.1946. Other arguments in favour of a 1914 date are the size of the work and the signature and monogram. Nash's watercolours were often large in 1914 and signed 'Nash' and a monogram. Works of such size and signed thus were much less common in 1917-18. However, any one of these arguments is not conclusive in itself, but taking all the points together makes the likelihood of T01946 dating from 1914 seem greater than a date of 1917.

If T01946 was executed in 1914 it may well have been one Nash described to Bottomley that year. In about mid-August to early September 1914 Nash and his wife visited Leeds and after lunching with Sir Michael Sadler, vice Chancellor of the university and art collector, they stayed the night with Charles Rutherston who had a notable collection of paintings and drawings. Nash wrote to Bottomley at about this time: 'Everything [in Rutherston's collection] is first rate I felt very proud to see my drawing hung up there. Charles very much liked the big Orchard drawing [Nash seems to have been carrying a number of watercolours and drawings with him] and I think would have bought it if war had not just broken out and caused eversone to think twice about buying a thing...' (Abbott op.cit, p.73)

After seeing the picture again, Andrew Causey wrote to the compiler (letter 6 January 1976): 'I notice now that there are the remains of a figure drawing in across the front of "The Cherry Orchard" which to my mind adds something to the argument for 1917, though I agree you could argue otherwise. Look at letter III in Poet and Painter (p.94) [28 September 1917] "... also two large pen drawings of with figures and three rather queer water colours in which figures of women come into the design".'

Published in:
The Tate Gallery 1974-6: Illustrated Catalogue of Acquisitions, London 1978
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'The Cherry Orchard', Paul Nash, 1917 | Tate

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T01946 THE ORCHARD ?1914 Inscribed 'Nash' and monogram b.r.Watercolour, ink and pencil, 22 1/2×18 (57.1×45.8)Purchased from The Fine Art Society Ltd (Grant-in-Aid) 1975 Coll: Sold Sotheby's, London, April 7 1971 (70), bt. Hamet Gallery; Peyton SkipworthExh: Paul Nash, Hamet Gallery, May 1973 (4, repr.); Paul Nash: Paintings and Watercolours, Tate Gallery, November-December, 1975 (33, repr.)

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Image retracée sur la tablette tactile

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Découverte de l'outil sketch puis du générateur "Sweep" pour créer des troncs à partir d'un tracé

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▶ Veille artistique : le lignes de Julie Ouellet

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▶ Veille artistique : le lignes de Julie Ouellet

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Julie Ouellet
Mots clés : parcours ; systèmes; la main

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2016/17 - Dessiner dans la grange de l'île Carillon

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Modélisation retracée avec la Cintiq (08.02.21)

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Modélisation retracée avec la Cintiq (08.02.21)

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Latin : lieu planté d'arbres. De la botanique, pépinière spécialement consacrée à la culture expérimentale d'arbres ou d'arbustes d'essences diverses.

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Nombre de cycles complétés : 4
Bilan des cycles : 122 heures, 20 minutes pour 37 séances d’atelier

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A_S001 _maisons04_28.09.20
Maisons modélisées directement dans le logiciel, sans références préalablement dessinées.

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"Avoid self Intersections" coché, les joints sont plus harmonieux

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J’apprécie les armatures des polygones, leurs filets me font penser à de la dentelle, à de la résille avec des mailles de différentes grosseurs.

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Importer des esquisses dans C4D m'a permis de travailler avec plus d'aisance, car je pars de mes dessins
Capture d'écran du "Viewport"
A_S006_viewportarbre_13.10.20

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Sur cette capture d'image, on voit mon dessin de référence en transparence, ainsi qu'une partie du tronc et des branches que j'ai commencé à modéliser.
A_S006_référencearbre_13.10.20

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Mulhouse, musée de l'impression sur étoffes (1870). En ligne : https://www.photo.rmn.fr/archive/16-552324-2C6NU0A6Y1APJ.html

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A_S002_maisonconstruction02_30.09.20

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▶ Veille artistique : le tulle vu par Roger Parry

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▶ Veille artistique : le tulle vu par Roger Parry

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Roger Parry, Tulles vus en gros plan (vers 1930)

En ligne : https://www.photo.rmn.fr/archive/07-520555 2C6NU0CGNRD3.html

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▶ Veille artistique : les sculptures en maillage de David Goldes

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▶ Veille artistique : les sculptures en maillage de David Goldes

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David Goldes, Mesh Objects (After Cezanne #5), 2005
En ligne : https://www.davidgoldes.com/Traces

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« Il n'est pas besoin d'être longtemps dans les bois pour connaître l'impression toujours un peu anxieuse qu'on "s'enfonce" dans un monde sans limite. Bientôt, si on ne sait où l'on va, on ne sait plus où l'on est »  (Gaston Bachelard, La Poétique de l'espace, 2018 [1957] ).

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Lauren Moffatt, The Unbinding (2014) J'aime l'allure des objets et des visages dans ce projet en 3D ; ceux-ci sont inspirés de collages surréalistes et de portraits cubistes

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The Unbinding
The Unbinding presents a world made up of fragments of archived images. Conceived in the form of an installation, this stereoscopic video work, projected in passive 3D, reveals a figure whose face, hands and hair change with each of her movements and who is contained within a constantly reconfiguring loop.
Inspired by cubist portraits, surrealist collages, Philip K. Dick's "scramble suit" and time loops and time machines from 20th century science fiction, this work offers an reflection on the everyday activities of appropriation and sampling made possible by digital technologies and networks. It raises the question of how we construct our own worlds through different media.

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The Unbinding The Unbinding presents a world made up of fragments of archived images. Conceived in the form of an installation, this stereoscopic video work, projected in passive 3D, reveals a figure whose face, hands and hair change with each of her movements and who is contained within a constantly reconfiguring loop.

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(26.10.20) En attendant la tablette graphique

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(26.10.20) En attendant la tablette graphique

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J’ai posé une feuille de papier directement sur mon écran, puis, grâce à la luminosité de l'écran, j’ai retracé par transparence un détail de la modélisation sur mon papier. Malgré la position inconfortable, j’ai éprouvé un grand plaisir à tracer au crayon sur cette table lumineuse bricolée. Je pense qu’avec cette façon de procéder, je m’approche d’un de mes objectifs qui était de créer de nouvelles formes dessinées, à partir de mes découvertes en modélisation.
* Note à moi-même : les armatures visibles des formes me font penser aux épines du pin.

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(12.10.20) en préparation à la séance 06 

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(12.10.20) en préparation à la séance 06 

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En prévision de la séance 06, je vais imprimer et retravailler les dessins de profil et de face des maisons. Mais en voyant ce tracé, je n'ai plus envie de le re-dessiner, il me paraît trop rigide.

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Version "Render View"
A_S004_maisonETfumee01_07.10.20

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Dessin de référence pour modéliser un pin
A_S006_arbre_13.10.20

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A_S002_sketch_3D_30.09.20.png
Description : vue comparative entre mes dessins et les modélisations

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Premiers essais infructueux pour modéliser des formes organiques
A_S003_maisonETfumee01_05.10.20

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Lundi 16 novembre

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Esquisse : bricolage pin > cheveux > aiguilles

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Sur cette image, on voit que j'ai bien avancé pour la modélisation du tronc et des branches. Quinze minutes avant la fin de la séance j'ai débuté les nuages d'épines, et je n'ai pas encore trouvé comment les réaliser. À suivre
A_S007_CapturePin_19.10.20

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Détail d'un amas de feuilles Cycle 1 — Séance 08

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Détail d'un amas de feuilles Cycle 1 — Séance 08

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A_S005_Maisontoittuile_12.10.20

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Capture d'écran du viewport, où l'on peut voir les 4 vues simultanément. C'est très utile d'avoir son dessin de profil et de face en référence pour faire l'image en perspective.
A_S004_maisonETfumee03_07.10.20

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▶ Veille artistique :  : Ruth Asawa et ses formes négatives

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▶ Veille artistique :  : Ruth Asawa et ses formes négatives

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Ruth Asawa, Untitled, 1980. encre sur papier
J'ai toujours été touchée par cette image de la sculpteure Ruth Asawa, j'aime la présence/absence de la maison. Ici, ça me donne envie de modéliser une maison, avec une forêt qui l'entoure, et d'ensuite supprimer cette maison.

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Cycle 02 _ Séance 01
Lundi 16 novembre
J'ai formé les aiguilles de pin avec le matériau "cheveux"

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Premiers essais de modélisation à partir de mes dessins.
A_S002_maisonconstruction_30.09.20

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Préparation des dessins pour le prochain cycle. (08.11.20)

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Préparation des dessins pour le prochain cycle. (08.11.20)

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La modélisation me permet, dans le cas d’un dessin d’observation, une meilleure connaissance des éléments que je dessine, parce que je les dessine sous plusieurs angles (face, profil, dessus) ce que je ne faisais pas avant. Deuxièmement, je constate que j’ai tendance à dessiner des choses de plus en plus délicates. Le niveau de détail et de paramétrage du logiciel me donne envie de modéliser des éléments très fins et organiques, c’est une surprise, car je pensais aller vers des constructions plus massives, cubiques.

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A_S003_maisonETfumee03_05.10.20

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▶ Veille artistique : les maisons grises de Sol LeWitt

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▶ Veille artistique : les maisons grises de Sol LeWitt

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Sol LeWitt, Untitled from Forms Derived From A Cube, 1982.

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▶ Veille artistique : les toiles d'araignée de Tomas Saraceno

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▶ Veille artistique : les toiles d'araignée de Tomas Saraceno

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https://studiotomassaraceno.org
Cet artiste argentin s'intéresse, entre autres, aux araignées et à leurs toiles, pour porter à notre attention ces "tiny universe" très sensibles avec lesquels nous cohabitons sans les voir

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La matérialité ne disparaît pas avec la disparition des matériaux physiques

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La matérialité ne disparaît pas avec la disparition des matériaux physiques

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« [...] the physicality of a thing one can touch does not vanish with the disappearance of its material but can morph culturally, transmuting into another medium. In the digital

age, materiality can be reactivated, because it was always a virtual

condition » (Giuliana Bruno 2014, p. 8).

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Premier dessin numérique sur écran tactile

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« La nuit succède au jour, le jour à la nuit, les bons cycles aux mauvais et les mauvais aux bons » (Emmanuel Carrère, 2014)

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26 octobre 2020 : suite du travail sur mon pin
Référence : A_S00801_PinSuite.26.10.20

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A_S005_Maisontoittuile

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A_S004_maisonETfumee02_07.10.20

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J'ai rapidement redessiner les maisons que j'avais modélisées dans C4D

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Dessins de maisons que je vais utiliser comme références pour modéliser
A_S002_SketchsMaisons_20.09.20

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Cycle 01 — Séance 10

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A_S003_maisonSketchs_05.10.20

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"Avoid Self Intersections" non coché :-) Les joints où se rencontrent les lignes sont hirsutes et présentent des défauts. J'aime mieux cela, car ça permet de mettre en évidence ces espaces

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Depuis février 2023.
Avec ma collègue Nelly-Ève Rajotte, nous suivons une formation privée sur le logiciel Blender. Formateur : Bruno de Coninck

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Modélisation de la branche dans le logiciel Blender

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Paquin. 2019. Faire de la recherche par cycles heuristiques.

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▼ Code de couleurs par cycle
★ = Séance marquante

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Complété : 10 séances