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Notebook

Notebook, 1993-

COURSES OF DEVELOPMENT . . . . Materials & Processes

The Materials & Processes

Tech Workshops

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Smudginess of Chalks . . . . Density of Inks . . . . Fluidity of Paint . . . . Translucency . . . . . Substance . . . . . Blending qualities . . . . Changeability. . . . Tackiness . . . . Weight . . . . Consistency . . . .

Impressionability of clay . . . . Softness of the graphite . . . . Consistency of a Glaze . . . . Density of Oil . . . . Washes . . . . The tone. . . . . The clarity of Hue . . . . Absorbancy . . . . Dust, Reflection, Translucency . . . . Opacity . . . . The Sheen or Polish . . . .


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Qualities in relationship . . . . Properties and Characteristics in support or juxtaposition . . . . Technical Potential and Limitations in terms of content . . . . Material as substance or meaning --as nuance, imposition, in measure . . . . Elimination, intensity, dynamics . . . . Local or Cultural Parameters . . . . Intentions . . . .


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Methods, Systems, Approaches, Processes, Collaboration . . . . Norms or Standards . . . . The Options

Management . . . . Storage . . . . Maintenance



N O T E:

Mechanics.

Nuances in qualities and in the relationships or proportion of qualities.

Experiences more or less orienated towards the visual [that which is visible]

The idea of Process orientated.

Conceptual approaches to ideas arising from elements and relationships

The use of materials and process in terms of various perspectives: Historic, Cultural, Practical, Theoretical, and Topical. Method of use or the stylistic and technical applications and procedures might be considered in similar cultural or historic regard.

Formal approaches to Conservation, Restoration, and in the investigation of new Products / Processes. Considerations of Conservation & Restoration might focus upon Traditional materials/methods, Historic concerns/approaches, Technical applications & management, Environmental influence, Safety, etc.

Most effective presentation or exhibition of works - by taking into consideration the characteristics and qualitlies of the materials. For instance, to consider the kind of experience required of a person who may view prints or photographs in a book, on a computer screen, or who is required to view the same work at a distance as they are placed in large architectual spaces or galleries. What kinds of work or materials can effectively fill large spaces and galleries or small spaces --public or private? What combination of materials? What relationships of large or small spaces?

One might express experience through materials / processes in relationship to function . . . . subject . . . . theme . . . . . . . . Drama . . . . Narrative . . . . tone . . . . weight . . . . blend . . . . transparency . . . . impression . . . . Skill . . . . As craftsmanship.



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One may get started from any perspective and find Developments will proceed through selected courses of interest. For personal appreciation --or through concentration of interest in one or two courses through which to demonstrate expertise --all forms of development require the investment of time and interest.

The focus here is on 'Materials / Processes.'


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Developments may in this way proceed through an appreciation of the arts and art works on a very general level . . . . or . . . . through engagement in materials, processes and methods . . . . through work with visual relationships . . . . . through consideration of aesthetic theory and practice . . . . through an interpretation of a specific discipline . . . . through reference to tradition . . . . . through a review of history or attention to cultural norms or through the development of specific topics, events, or issues . . . .




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