Here is an art picture to get the discussion started.
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Dedicated to the art and graphics of windsports: kiteboarding, snowboarding, and windsurfing. Featuring presentation, discussion, and critique of paintings, posters, drawings, sketches, cartoons, covers, designs, decals, banners, and logos.
Snowkiting
Tocoa snowkiting mountain peaks (via computer of course)
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Off Board Transitions Copyright Notice
In general, copyright resides with the contributor, author, or artist from date of posting. In most cases, this would be the contributors 'decodeideas' or 'tocoa'. If you would like to use material from Off Board Transitions, or just have a question, please contact the contributors. Thank you!
Tom,
ReplyDeleteThe picture captures the dynamic and high speed aspects of windsurfing and kitesurfing. Besides going fast and jumping high and twisted your body in multiple ways kitesurfers and windsurfers are also mindful of right-of-way issues. Collisions can be painful and one way to minimize them is adhering to a set of rules: downwind and right-hand-forward have the right of way and so on. Unwittingly your drawing captures the fact that a wave can get crowded and while wind people are less territorial than surfers collisions and conflicts do occur.
It would be interesting to investigate a second scene where the accent is on one of the people and the other ones are further in the background. This would capture the sense of freedom and open space that one feels when practicing one of these sports.
Marius
Marius,
ReplyDeleteFor this cartoon, "Triboard", I had in mind a style of compressed 2D perspective that is capable of packing a multitude of figures into a panorama in such a way that background figures are nearly as large and detailed as foreground figures. Balinese artist I Wayan Bendi is a superb practitioner.
In comparing the three figures in "Triboard" one may notice something odd. The central figure is clothed in a way that suggests a cold, hazardous environment, yet the flanking figures are clothed in a way that suggests a warm, safe environment. Also notice that the 'wave' ridden by the central figure differs in form and color from the waves ridden by the flanking figures. The short kite lines are another clue that an unusual perspective is being employed.
Actually, the central figure is snowkiting a cold mountain peak in the foreground, while the flanking figures are riding a warm body of water in the distance and separated from each other by the width of the mountain! So thankfully, all is well.
Of course there remains the question of why "Triboard" does not work. The problem is that the style does not work well without the context that a panorama can provide. Constraints on this particular piece resulted in a drastic abridgment. Had this been a full blown panorama with kiters driving up the mountain road, booths on the shore thronging with shoppers, and surfers on ocean waves in the background, then the viewer would understand the distances involved and accept the relative sizes of the figures as an artistic convention. Lacking strong cues and the geographic cohesion of a panorama, it is difficult to read "Triboard".
It would be interesting to give the subject a completely different treatment. Your suggestion brings to mind the way that traditional Asian ink paintings treat the human figure in the vastness of water, mountain, and sky.
Tom (tocoa)
Well ... I am blown away :) Now that you pointed out the right details it makes a lot more sense.
ReplyDelete