Free gross pictures

The bildnerische alphabet developed in the course of my Seminart?gkeit as tool to up-soft around festgefahrene picture structures and?rraschende offers arising from itself out too. These purchased from the question, as I bef?gen themselves can, to complex plastic formulations too. The study of the gro?n. K?tlerINNEN in the different sections supported the plays, which were participant inside pr?siert in the consequence by their application with appropriate questions meinerseits or those that. Very often mu?e spontaneously, in pression the play answer to be found, all necessary aids f?die Ausf?ung. Answers and/or Technikl?ngen very often developed, only on the individual question too. But with the time a special form of plays developed st?ten with gr from this proceeding? m?ichen individual liberty f?den participants the own handwriting in the formulation that. At the same time by the comparability of the work in the groups best learning effects obtained besides the group work in such a way, thus da?Profis and v?ige Anf?er gleicherma?n to good results came, which a very harmonious. usually the answer search became the form and contents?r the Aufsp?ng of a new technology was formulated reached simultaneous and accurately the same quantity of clay/tone used, came it always too individually arranged forms. preferences revealed immediately and my appropriate. After the Aufgabenbew?gung offered themselves in each case two ways of the Weiterf?ung: either on the previous play referred, weiterf?ende tasks, as now in the following are introduced, or the individual company and/or. The chapter is roughly arranged into preparation plays, a core playing rank, Speziall?ngen and a Entspannungsaufgabe.. This S?e was noticeable in the years: * The more pr?anter a model exists, the more clearly is understanding the plastic formulation, the more st?er is the own interference into the plastic formulation. * The sum of all through-formed details, even if they should appear still so small, results in a good Architektur. - a good form basic idea as a condition. * In the structure the st?ige decides?erwachung the consistency of the material Ton. ?r the existence of the ceramic is too soft it, goes the Elastizit?verloren and schr?t it the treatment in gro?n mA? . * The treatment of ceramic mass defines itself?r pressure and counter-pressure. * The selection of the tools and their handling decides?r the freshness and stress of the ceramic skin. * Due to itself the Hineinarbeiten and - increase into a work comes it with the time to an arrest within the N?, the one?ersicht miss l?. is again and again to manufacture the distance. The bildnerische alphabet is still unvollst?ig. The company of their projects, initiations of f?er?rgreifender actions and designing process will be the contentwise components of this seminar time our organization and work area, consult one the general-technical processes the pers?ichen picture identification processes, are even the publicized three seminar weeks one. In order to get an intensive entrance into our course work, I offer as in the previous year a play to you. I m?te it designate as long Tisch of the own bildnerischen. Do you photo-copy please in each case on DIN A 4-Format f? Illustrations of works of following sections, which became important you with the time - model and senseful -, with whom one clings again and again in the view and in the reflection of the own work. The same Prozedere then with illustrations of works, which are one unimportantly?erlich, kitschig etc., da?die selection spontaneously, honestly takes place and not (only). After the collection of the illustrations please I it to put all photo-copied Bl?er next to each other (Tisch.) to find out and, one which common denominators (nearly) of all illustrations can support. Horizontal one, roundnesses, torsion or contentwise?ereinstimmungen. The results of the found roten. F?n k?ten the first entries in the coming Giessener akademie. Diary its, which perhaps serves reflections schlie?ich and as initiation to find a keyboard of the own bildnerischen alphabet. The shown copy sheet offers itself as a playing field, which consists mixture of black and wei?n marks, which can be called chaotically, of, on the wei? against schwarz. or about the supremacy to argue in reverse seem. I ask you to intervene with a black felt-tip pen and wei?r color in the field in such a way and in such a way arrange thus, da?f?Sie am end nothing more hinzuzuf?n and/or. The result is a f?Sie bewu?e and clear. The first decision w? therefore: I see n?st the wei?, which I arrange m?te, or which schwarz.. In order to in-think itself into this Bildfl?e overleaf, it is advisable, only with wei?zu entfernen., or also black to schlie?n., where one is safe in the decision (macro order). Hei?: the existing structures seriously taking, thus with respect finding meeting that to before-grope carefully (step f?Schritt) arranging in order to only have schlie?ich at the end a design, an allocation of picture or otherwise a artifizielle??rung through removal and Zuf?ng aufzufinden., before itself. It is advisable?ersicht half. Do you log those, this Proze? These plays are not out-formulated yet. At the end of a Vorstellungssgespr?es I place the Individuum. of a handformed field fire brick in the group before that participant inside often take thereby the Backstein. into the H?e and draws from it secured information out clearly, da?mittels to ceramic mass, to be very much differentiated, clearly and clearly traces be taken up and retained k?en. 1) it is a handformed brick (gro?n. 2) it consists of a roughly schamottierten clay/tone. 3) the form was struck into a female form (the four short edges are clearly trained in the angle), 4) 3 time (lateral notching line). 5) it consists of eisenhaltigem clay/tone (Rotf?ung). 6) gro?n the Fl?en is the lower surface and/or. The lower surface is the Fl?e consolidated with the pressure. 7) the Auflagefl?e was a ground, easily curved (casting 8) the?rsch?ige material of the top side with the production into a direction with a T/plate article was taken off. 9) it mu?ein fast figuration procedure been its, taking off?rsch?ige the material up to end gef?t was torn fast upward not completely there above and the female form. Thus lie?sich heavily take the mass out with the withdrawal of the female form). 10) a Konsistenzpr?ng was submitted to the stone, or he was too fr?umgestapelt (lateral finger-pure). 11) due to the Gr? the Fingerabdr?e is gew?leistet that it was a m?licher worker. 12) the clay/tone mu?beim hitting into the form very softly. 13) due to a small drying tear at the side of the stone can proceeded from production around midday. 14) due to the fire-pure it is to be stated that the stone in an open fire, which sucked. 15) it was stacked thereby upright f?den fire. 16) it mu?im middle range of the fire zone itself found. 17) due to the sound the firing temperature amounted to approx.. 18) the finished stone had been already once blocked. Trace identification of clear Negativfl?en with the help of three soft tonplatten, anschlie?nd to closed K?ern. A) Meaningfully it, this task is to the participants not well-known, so da?es particularly zus?lich a becoming acquainted with play. - it is asked to cast with three soft tonplatten with the ungef?en Ma?n of 30 x 15 cm (not much gr?r) of architecture negatives as the tonplatten on Geb?ewinkelungen of different adjustment, and angedr?t from the rear are to be put clearly arranged zones in angle angles are found. Plates exhibit the following characteristics after the casting: * It is a selbstverst?licher K?er, some gewachsenen. Clarity of?rraschender arrangement zones exhibits. * By the pressure beh? the tonplatte the stress within * and the Binnenstrukturen of the Fl?en are selbstverst?lich. * All removed form information extends?r those. Apart from the figuration thought the basic idea, the place is knows to learn to also argue intensively with this in the future. One goes souver?an the task near and has as consequence also into itself souver?gezeichnete and formed tonplatten. dr?en the own order of the designing materially out: Each turn of the tonplatte with the pressure results in v?ig different form arrangement. By the clear Fl?en the recognizing bar is not architecture given, thus also not the dimension can one different plastic Ph?mene er?ern. the Abl?ngen of Berg. and Tal. in a decided burr. in a trick as it were as plastic breathing movement of concave and convex as Urprinzip. Break f?eine Fl?e?lich the flank protection. b) This form acceptance is thus an offer of identification, from the Spontaneit?.ordentlich. decided is the three tonplatten at their edges installed not to erw?en to one before the form acceptance this weiterf?ende task there otherwise konstruktionsgedanken f?eine further event those. Because the three K?erelemente originate from the different Architekturzusammenh?en, one means zun?st that these elements does not?rhaupt f?ein meaningful concert of a form unit. Although one does not zun?st wei? where the formal journey goes with this task, one goes nevertheless reliably to the work, which courage provoked for accessing, because the plates. One does not design a harmonious tension, but one deals with in which one lediglich. those. The question of the point of view of a form statement is therefore not from the beginning gekl?, but by the occupation of the form acceptance and the examination and elaboration of all assembly zones it results in three-dimensional, in itself more stimmiger. One had zun?st only?erblick in the detail and became so careful on the whole of a verst?lichen total form by doing, the treatment. About setting of tasks was to manufacture an unanimity of the K?ers importantly as au?rordentliche discipline out, not the formal offers in doing in addition-gives themselves, the edges z. also with gr?eren?fnungen did not become?ers around evasion. L?er had sp?r, which concerns the dimension, then nat?ich their important tasks?fnung dar?r to decide whether the K?er a cathedral. Only once if the form was closed, the priority of all formal events, and were also still so small, only estimated it and?ersicht from the whole one. The 3 anf?lichen clay/tone elements were negated not in their existence, do not l?en themselves thus not in the new form up, but they were indispensably f?die total form. Kl?chennachbau of a complex and complicated sitting humans or a still life. As entrance has I zun?st the organization principle. Proportionierungsangebot of quadrature and golden section. Also the thesis that each humans the preference interned more f?einer the proportions presented above. Then the request follows to divide 10 kg a Hubel clay/tone into many?liche K?er without waste with straight cuts of a measurer without help of a slat. All of these basic forms are to exhibit 90 angles and none identically to the others its stable Grundk?er are?lich the colors on the pallet of a painter, then to a?rschaubaren Manhatten. arranged. Ausgangs?rlegung to this task was the question, as can I bef?gen itself, a complicated and a complex. A tonplatte is to function now as playing field f?die cut components, which does not block nachtr?iche Ver?erungen in the further process experienced d?en and s?lich. The components are, which model it is stored accordingly, thus, placed, gest?t that the masses of the model are copied with the help of Kl? a statics play, the receipt of a too adventurous structure are immediately evident and comprehensible with incorrect statics as with the children's game over with the Bew?igung is the report to introduce itself around the volume of the model a foil skin around itself more clarity. Even if only few elements from that stood for 10 kg lumps to the building to the Verf?ng, all components were carefully set by the opinion of the model very much mindful SAM. When developed much differentiated intermediate results, cubist formulations of a complex model. Now the developed work is to be placed m?ichst on a R?erscheibe, over turning?erblick. All zones, as to be sekund?betrachtet to be zur?gedr?t all prim?n. Seams between the Baukl?chen happen. Concentration of individual construction units, the elimination of the Kleinteiligkeit, in order to receive ever more an ensemble of fewer building complexes. Fachwerk, Matsch and mysterious R?e. building of skeletons of a complex Figuration with anschlie?ndem. Mass is to be replaced now however by one bewu? formulated sub-construction from tonrollen. are anschlie?nd with clay/tone mud to be covered, so that this Behautung of the?eren feature of the model?elt. The roles are to be manufactured with soft clay/tone, and be together-pinched among themselves fast and simply. Again a tonplatte f?diese work is to serve as foundation. This task serves likewise f?ein good Verst?nis. Although with completely fresh clay/tone built, one knows immediately the statics by R?elung of the construction units pr?n. The diameters of the Tonw?te should in the richtigen. Verh?nis to the model to be met. 70 cm high figure as appropriate judges. As basic formation of the smallest static module of a figure a Zeltkonstruktion.?lich of thumbs, was regarded to the finger spreading index fingers and middle fingers. At the end of the first section a very engmaschige stellage stands for z on the base plate, those? one a foil skin?r it, the K?er??rlichkeit after. This framework is to be rhythmically lined now in the second step with Tonfladen, - also inside of the. From this Stellw?e. mysterious R?e in the internal area and a rhythmic?ere Behautung result to that. Now this skeleton structure with the Verlappungen with Tonfladen is to be dabbed in such a way with Tonschlicker, da?jegliche form of the sub-construction is no longer perceptible. Waive the construction by Matsch?rwurf. will the K?er of the model always n?r course-works schlie?n an uniformity, the K?er realizes. Although two consistencies of a material were processed here, - f?den wet Schlamm?rwurf is really necessary good statics -, in the case of cover?r night with a protective plastic film, a Qualit?von material, which now with order tools, results gepaddelt or to tension-rich Oberfl?en are arranged gewiegelt k?en. Also here is to be marked again, da?zun?st only the zones be gepaddelt should, where one itself. By this proceeding of the Schlamm?rwurfes zum becomes Schlu? the question emerge, which?fnungen openly. All?fnungen has a grown character, how in the?igen also the skin will?fnungen after the Paddelung. this indicated, more da?der ceramic K?er not substantial is, the Gef? f?die weight of plastics covers itself with the visual impression of the K?ers. to also in-watch in the K?er to ergr?en it now also, by the inserted Stellw?e, the view into mysterious. At plastics ceramic to the Schlu?bearbeiteten the events are on the inside, the skeleton. even bewu?e figuration with tonplatten to these?ung are meant as entrance into the disk technology at their?eren skin. A detail from the past formulations of the tasks of 8 and 9, which one found, is as exit of this task. Is one as successfully judged working on zone?rtragen to become of a technology into another. Zun?st are the plastic main events of this zone by means of Kochl?el f?gebogene zones and a handy square wood f?die straight events on into a soft tonplatte?rtragen to become. During this procedure the figuration is over simultaneous by means of pressure and counter-pressure the wood with the right hand on the Fl?e, with the left hand from the rear. The tonplatten do not d?en therefore also a plate are the former Fl?enk?er in the result equal a diaphragm, result of the front and Hinterkr?e. Equal a pattern of the conception accordingly many parts made, then at the edges to a closed K?er zusammengef? will are with Abn?rn. to usually provide, in order to arrive at the desired plastic goal. 7 f? one worked on plates to a whole one together, now however bewu? with a concrete model employ to m?en, strike I a small dimension of these. A praise song on the scrap iron place several Gr?e spoke daf? to go at least once w?end a seminar on the scrap iron place: - the Anh?ung of historical materials with stories k?en in the Bedr?nis and neighbourhood of the things new form and Materialverkn?ungen to follows has. - one crawls in R?e of the disorder, in order to manufacture with its order will - passive or active - new orders. - with anf?licher Un?rsichtlichkeit of the chaos of materials the view with the time and Seh training in the versatility of the things of the substantial develops and leads thereby for verst?nisvollen regarding?r. - one?lich our material, marks former softness to the metal, and can for the Vorbidfindung often serve. - not all static formulations are in. With filigranem found metal parts are new static tests m?ich, just as also material combinations. - found scrap iron parts k?en not only material to be carried forward, but also in the form of thoughts, poems, designs or stories, - either in such a way as final product, or also as model f?eine anschlie?nde plastic conversion. - it is experiencable another strength. - after the identification of special forms and materials one is ungefragt requested to sound out the identification to reject decisions to beschr?en itself, because one sees fast, da?man not all dear won Materialen to carry forward can. - a scrap iron place h? us a superoffer on. - one can become the Arch?ogen of processes on this Pl?en and become Zuh?r of the Erz?ungen of Materialen. - one knows?r and offense against these. ?erangebots of textures and structures besoffen. become a landscape of?rsichtlich small plastic??rungen. With this task a solid clay/tone block is several times with a T?erschlinge and/or. The clay/tone block should ungef? 6 - 8 kg weigh, and into optical 90-Winkeln to be struck are at least once with the wire to be divided to sing without paying attention itself it to a music, or to take a visual-rhythmic offer from the n?ren environment as model are the individual parts resulted from the cuts carefully from this block to be divided. These elements are again to be organized anschlie?nd in new sense and Formzusammenh?e are recommended it, itself on 3-er, 5-er or 7-er-Element Figurationen. Develop thus several figures, which by their selbstverst?liche, by which Schnittproze?gewachsene form structure supply, stable models f?gr?re work k?ten. A l?licher block is to be divided in the sense described above, the individual components however not immediately removed. N?ich between its Fl?en is after the Schlingentanz. Sand or other Trennmittel. such as z. one takes all parts apart immediately, loses one otherwise those. After between all Fl?en a parting agent is strewn, thus an adhesion between the elements is impossible, drives one the before l?lichen Grundk?er with a mallet or a board into those entgegens?lich direction respected, da?der Grundk?er not apart f?t. verf?t one with the division of the K?ers again in such a way, like it. During this variation develop softer forms, which zus?lich already exhibit a worked on Oberfl?e. As is the case for the basic idea and all proceed. Here other basic forms k?en, how/as a ball as Grundk?er the cuts, slowly approximately carefully to?nen, in order him easily transferred again again too schlie?n. needs one is not taken to the K?er Schlicker between the elements to apply. K?er with in and looking through develop and shifted. small one plum gro? Clay/tone balls are between the two H?en with a unique, not to hasty pressure. The zones, which are not ber?t with the pressure of the H?e, are to be consolidated on a smooth document z. of table to a calm Fl?e - not the printing form from the hand to give. Anschlie?nd slowly the form. A Panoptikum of numerous forms, that develops the memory of an excursion found Figuration on a ruhigen with both plays. To install clay/tone block. After this assembly immediately a Monomentalit?in of the kleinheit becomes visibly, those immediately anh?, select Figurationen as models.