AN EXPLORATION OF THE DYNAMICS OF LINES AND THE HUMAN FORM IN PAINTING

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Department of Environmental Design

ABSTRACT
This study An Exploration of the Dynamics of Lines and the Human form in painting, seek to explore ways in which different lines can be emphasized alongside with the human form, the changing aspects of lines, this includes the variations, movement, direction, character, location, and measure of lines on the human form. This study has appraised ways of finding a unique style of an individualistic mode of expression in painting through the study of dynamics of lines to create human forms. With specific objective to; Transform the human form into lines wholly, Portray the human figure into segments of lines and disperse the human form into positive and negative space using lines. The research started by looking at the works of artists who had attempted to solve the problem of dynamics of lines and the human form in their own ways which led to an evaluation of their works. However, the review did not indicate artists? concerted efforts in a systematic study of dynamics of line and the human form. The methodology used for this research was practice led. The researcher made use of photographs, of models. Different lines were sourced from objects. Different tools were used in the collection of data which included camera, pens, and sketch pads. Data collected were analyzed in different stages i.e.; Representational: this stage saw the production of paintings that captured form in naturalistic manner. Tentative: paintings from this category became experimental in the manner that details of form were of not importance at this stage rather form and the picture plane were dominated with linear experiments. Dispersion: this stage also saw the production of paintings that placed emphasis on an interface between line and form and space. Borders of form were removed to allow lines disseminate, thereby unifying form and space. Distortion: at this stage form was fractured and interwoven with lines. Disorder, dissonance, unconformity, and irregularities replaced their opposites. Various stages of the resultant research paintings showed how different problems were encountered and solved. This study has proven that lines offer inexhaustible possibilities in artistic studio exploration. The researcher discovered that lines when allowed to engage each other in space freely, they tend to create forms that are somewhat impulsive. Again, the artist found out that a high dispersion of the figure and lines weaved into space tend to give a hazy illusion of an image of a silhouette without outlines thereby creating a subjective representation of the figure.