Author k Date 2018-01-24 14:08:00
 Title µ¥»ý-¼öäȭ ±Û
When I was a student – Foundation in Art µ¥»ý Ãʱâȭdz -1
Look at the followings to see in English which written by a Canadian artist David Macri in 2010 when I publish my own art-book.

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±Û¾´À̴ ij³ª´Ù ÀÛ°¡ µ¥À̺ñµå David Macri ÀÌ´Ù. Çѱ¹ ¹®È­¿Í º»ÀÎÀÇ ÀÛÇ°¼¼°è¿¡ ´ëÇÑ Ç³ºÎÇÑ ÀÌÇظ¦ ¹ÙÅÁÀ¸·Î ¿µ¹®À¸·Î Á÷Á¢ ¾´ °ÍÀ» ´Ù½Ã Çѱ¹¾î·Î ¹ø¿ªÇß´Ù.

Çѱ¹¿¡¼­´Â ±Ù´ë½Ä °íÀü µå·ÎÀ× ±â¹ýÀ» ÇÁ¶û½º ¿ë¾îÀÎ ¡°µ¥»ý¡±(Dessin)À̶ó°í ºÎ¸¥´Ù. ÀÌ ¿ë¾î´Â À¯·´ÀÇ ¿µÇâÀ» ¹Ý¿µÇϴµ¥, ÀÌ´Â µå·ÎÀ× ÀÛ¾÷¿¡¼­ ±×¸®½º ·Î¸¶ ½Ã´ëÀÇ ¼®°í Èä»óÀÌ °¡Àå Àα⠸¹Àº ÁÖÁ¦ÀÎ °Í°ú »óÅëÇÑ´Ù. ÀÌ·¯ÇÑ µå·ÎÀ× ±â¹ý°ú ±×°ÍÀ» ÆÇ´ÜÇϱâ À§ÇÑ ±âÁØÀº Á¡Â÷ µ¶Æ¯ÇØÁö°í Á¤±³ÇØÁ³´Ù. µ¥»ý¿¡´Â ¿©·¯ °¡Áö À¯ÇüÀÌ ÀÖ´Ù. µå·ÎÀ׿¡¼­´Â Á¤ÁöµÈ »óÅÂÀÇ »ý¹°Ã¼, Àι°, dz°æ µî°ú °°ÀÌ ´Ù¾çÇÑ ÁÖÁ¦°¡ »ç¿ëµÇ°í ÀÖÁö¸¸, ±× Áß¿¡¼­µµ Èä»óÀÌ °¡Àå ÈçÇÏ°Ô »ç¿ëµÈ´Ù. Çѱ¹½Ä µ¥»ý±â¹ýÀ» ±¸ºÐ Áþ´Â °¡Àå È®½ÇÇÑ ¿ä¼Ò´Â ÀÌ ÀÛ¾÷ÀÌ °íµµ(ÍÔÓø)ÀÇ ¼± ±ß±â ¹× ¼±ÀÇ Áßø ±â¹ýÀ¸·Î ±¸¼ºµÈ´Ù´Â Á¡ÀÌ°í, ¾Æ¿ï·¯ ¿¬ÇÊÀÌ °¡Àå ¸¹ÀÌ »ç¿ëµÈ´Ù´Â Á¡µµ µé ¼ö ÀÖ´Ù. ±×·±µ¥ ÇÑ ¸íÀÇ ÇлýÀÌ ¼ö ¹é ÀåÀÇ µå·ÎÀ×À» ½ÀÀÛÇØ¾ß ÇÏ´Â Çѱ¹ ÇлýµéÀÇ ºÎ´ãÀº ÀÌ ¸ðµç °ÍÀÌ ¿À·ÎÁö ´ëÇÐ ÀԽø¸À» ¸ñÇ¥·Î ÇÏ°í ÀÖ´Ù´Â µ¥ ÀÖ´Ù.

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Dessin
Korean modern classical drawing is often referred to with a French term, Dessin. This does reflect a European influence, which also accounts for the most popular subject of these drawings, plaster cast Greek and Roman busts. The evolution of this drawing technique and the criteria used to judge it, has grown increasingly refined and unique. There are several variations of Dessin. The drawings focus on different subjects, such as still life, figure, and landscape, with the bust being the most common. The most obvious defining element amongst the drawings is that they are all done with hatching and cross-hatching (and most often in pencil). These assignments, hundreds of drawings per student, are all aiming in the same general direction; university entrance.

I wondered how often the students were encouraged to, or allowed to invent their own expressions. There didn¡¯t seem to be much room for individuality. Are these artists or drawing robots? Moreover, why on earth are Korean people drawing pictures of Mercury and Venus, instead of their own marvelous mythology?
Chang Han reminded me that he had chosen modern (¡°Western focus¡±) painting as his major, and that there was a traditional school of art as well. He admitted to me that he found the statues unfamiliar and a bit boring, saying the drawing process made him feel like a machine. He produced about five hundred drawings (and an even larger amount of watercolours, see below), all with the same process, subject, and dimensions.

While the exercises often seemed to have an oppressively narrow focus, he was compelled by what he learned, and how that even in such a narrow scope he was able to find wiggle room, to begin expressing himself, and invent. There are subtle differences from one drawing to the next. After looking at a selection from different artists, one can begin to recognize ¡®signature¡¯ differences.

After leafing through stacks and stacks of student drawings, Chang Han showed me some of his own, older works from his university days. He points out that his lines are longer than what is done nowadays. He seems partial to the older way, tracing his hand along the long flowing line. Even in this strict and narrowing set of ideals, Chang Han is able to find interest, and differences between each artists work, pointing out the subtle ¡®personalities¡¯ in mark making Even in this highly disciplined way of drawing, personal traits and philosophy can be seen in each artist¡¯s work. How they imagine to meet the requirements or interpret the rules of this specific kind of drawing, becomes their unique answer to the riddle. Chang Han prizes grace and fluidity, so that¡¯s why his drawings are a bit different, but still well within the boundaries for his time. He told me that the requirements are changing and it is becoming more and more rigid.

Chang Han learned to appreciate the soft white curves and cool white of the statues, in time, developing a genuine interest in drawing them. He tells me that, while many of the drawings selected for this book are not the best overall examples of Korean Dessin mastery, they do map out his own personal development, as well as some of the characteristics of his generation, in regards to this particular type of training. He laughingly says, ¡°They aren¡¯t the very best drawings in the world of Dessin, but they show the history and potential of one very eager student.¡±
Chang Han recognizes the importance of this formal training (Dessin, watercolour) as his foundation in art. He acknowledges that the practice, even though it felt oppressive at the time, gave him new freedoms. Having a concrete understanding of how to draw representationally, gave him greater confidence and range. As an art teacher, he values the different genres of Korean academic art and the skills they bring.

Hatching or cross-hatching is used to build up areas of shade, or in its absence, white paper, represents light. Overlapping or angle changes create the appearance of facets, or different planes on the surface, angled differently and reflecting a gradient value of light. The results have certain similarities, but invariably differ in more subtle ways. The pencil is used to achieve the effects ranging from gentle ghostly forms that emerge from the page, to grinding hard deliberate marks that more resemble a stone carving, and everything between. What else may be distinctively Korean is the masterfully practiced technique. Virtuosity is a prerequisite in Korea.






When I was a student - Foundation in Art ¼öäȭ Ãʱâȭdz -2
Look at the followings to see in English which written by a Canadian artist David Macri in 2010 when I publish my own art-book.

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Watercolour
Being a relatively benign medium, watercolours are introduced to students at a very young age. Chang Han began using watercolours in middle school, and has continued until the present. In a similar format to the Dessin, students use a large piece of paper and gradually build up representation of form. While they do work from the same subjects as Dessin, the addition of colour gives a new life to the mixed still life or landscape. The still life subjects often mix traditional and modern parts. The composition could include a dried fish, a soju or cola bottle, grass sandals, or pack of Ramien noodles. The motive for this range of materials, while obvious with its potential for symbolism, is largely to give the student opportunity to attempt different colour and texture combinations. The objects are reflective, transparent, soft, rough, and come in every hue. Watercolours were a favourite for Chang Han in school.

Even though he enjoys stepping in and out of each medium¡¯s discipline, there has always been favouritism toward colour- lots of colour. While Chang Han produced hundreds of these drawings for academic preparation, he now selects only subjects that he feels are suited for the medium. In the case of something like the orchard, oil would be better. The inherent characteristics of oil would make it superior to capture the physicality of branches, leaves, twigs and grass. Its variable surface texture and vivid colours are preferred to depict the green tangled life of an apple tree. On the other hand, transparent washes are the best choice for ghostly insects, atmosphere, and ephemeral abstraction. They are all harmonious, caught in the drying pools of water and pigment.

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