THE PRACTICE OF ART

ART Repeatedly I have used the expression "the practice of art" and alluded to its later discussion. I mean by this expression a learned, acquired experience in the shaping of form, which is attained by everyone who devotes himself to the artistic profession for a lengthy period of time. I think it is appropriate, therefore, to incorporate into this book the most important of these principles derived from experience. Technical Data used in the field explained in architects in Islamabad. 

Before entering into the subject proper, this question should be considered: "How are architectural works to be presented graphically?"  It cannot be denied that very little interest in architectural creations is shown so long as they remain on paper. 'A picture, a sculpture, a room, abuilding, or any other artistic object directly affects the senses of the viewer through the eye, thereby greatly facilitating understanding and judgment. Yet the understanding of plans and elevations requires an intellectual con-centration for which the viewer usually lacks the desire, more often the capa-bility, thus making judgment more difficult or even impossible. Also, many architects are content to present designs in an unimaginative way, not consist-tent with the demands of modern taste. Some more details of architects in Islamabad  are as under.

Since presentational techniques are continually improved by new tricks and inventions and since the taste of authors varies, the "how" cannot be specified in detail and, accordingly, only suggestions can follow here. Beginning with the alpha of architectural drawing, it must first be emphasized that every so-called slick manner is totally objectionable, and that the architect's task must always be to put his ideas down on paper in the clearest, most distinct, neatest, most purposeful, and most convincing way possible. Every architectural drawing has to document the taste of the artist, and it must never be forgotten that what is to be presented is a FUTURE, not an existing work. The craze to offer the most deceptive possible picture of the future is an error, if for no other reason than because it involves a lie. All charming accidents and moods gathered from nature, captured by a good watercolor, and applied to something that does not yet exist are intentional deceptions that are to be rejected for that reason alone.  It is more obvious, more correct, and therefore more natural to present the work to the viewer through what we call a 'personal and impressionistic pre-sentation,107, one that is filled with ideas and excites interest. The artist in this way has the opportunity to show imagination, taste, intention, and ability, to inspire and captivate the viewer, 'without deviating from the truth. 108| There is today in modern artistic efforts and publications a youthful ten-deny that cannot be overestimated; it is seen in the large number of excel-lent ' German, English, and French periodicals in which almost everything newly created in art is reproduced.10^ Such publications present the artist with a wealth of ideas. Nevertheless, the artist must be warned against too much of this “medicine." Here too, a refined taste will guide and assist the artist and will lead him, notwithstanding the rich stimulation, to incorporate into his presentation only things that are worthy of the main theme and that will enhance the viewer’s interest. Naturally he will use only those presentational techniques from which the greatest effect can be expected with the least expenditure of time and which do not preclude an easy and beautiful reproduction. Even the simplest orthogonal projection can be transformed into a work of art worth looking at by the use of flowered borders, labels, details, and by emphasizing the individual conception.110, TSK Training for Skills and Knowledge is the best institute in Rawalpindi Islamabad for  Pakistani Students who wants to join architects in Islamabad.