Categories
Eye-drawing Hand Practice-based PhD

21: Binocular Experiments

The experiment below consisted in eye drawing my right hand at a distance of about 45 cm and its reflection in the mirror by contouring/delineating the boundaries of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker and the Fingertip calibration method. 7517 points were recorded in 40 seconds.

Figure 44: Eye-drawing of my right hand and its reflection in a mirror

Categories
Eye-drawing Hand Practice-based PhD

20: Binocular Experiments

The experiment below consisted in eye drawing my right hand from different viewpoints by contouring/delineating the boundaries of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker as a result of the Screen Marker calibration. 9383 points were recorded in 51 seconds.

Figure 43: Eye-drawing of my right hand from different viewpoints

Categories
Drawing Eye-drawing Hand Practice-based PhD

19: Binocular Experiments

The experiment below consisted in eye drawing my right hand at arm’s length and from a close range by contouring/delineating the boundaries of of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker as a result of the Screen Marker calibration. 9512 points were recorded in 53 seconds.

Figure 42: Eye-drawing of my right hand at arm’s length and from a close range

Categories
Digital sculpture Eye-drawing Hand Practice-based PhD

18: Binocular Experiments

The experiment below consisted in eye drawing my right hand from different viewpoints by contouring/delineating the boundaries of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker as a result of the Fingertip calibration. 9359 points were recorded in 51 seconds.

Figure 40: Eye-drawing of my right hand from different viewpoints

Figure 41: Developing the eye-drawing in Figure 40 into a cluster of spheres

Categories
Digital sculpture Eye-drawing Hand Practice-based PhD

17: Binocular Experiments

The experiment below consisted in eye drawing the hand at my arm’s length and from close range, using the Pupil Core binocular eye tracker as a result of the Fingertip calibration. 8000 points were recorded in 44 seconds.

Figure 38: Eye-drawing of my right hand at my arm’s length and from close range

Figure 39: Sculptural development of Figure 38

Categories
Eye-drawing Hand Practice-based PhD

15: Generative viewpoints

Figure 35: Generative development between the eye-drawings in Figure 34

The eye drawing session in Figure 32 was designed in anticipation of a possible generative development. An eye-drawing can be both exported as such, as a rendered 2-dimensional image, or further developed using computer-aid tools. Technically speaking, the eye-drawing becomes a geometrical polyline sitting in a 3-dimensional space where the perspective viewport is flexible and interchangeable. The view of the eyedrawing/polyline curve can be positioned as needed. One might therefore argue that the eye-drawing acquires sculptural value within 3-dimensional virtual platforms and this is the stage where I feel that my position of an editor is enhanced. The practice within Figure 32 was designed in view of the latter considerations, with the knowledge that the eye-drawing results from different viewpoints can be plotted within the virtual space, with the possibility of further computer-aided development.

Categories
Eye-drawing Hand Practice-based PhD

14: More viewpoints

Figure 32: Eye drawing my hand from five different viewpoints

Figure 33: Five eye-drawings corresponding to Figure 32

Figure 34: An eye-drawing consisting of the superimposition of the five eye-drawings in Figure 33

Categories
Eye-drawing Hand Practice-based PhD

13: More characteristics

Figure 30: Eye drawing my own hand

Figure 31: Resulting eye-drawing from Figure 30

Within my practice of eye drawing, the tangible surface is not present,
and therefore the act of drawing navigates between the eye and the mind. This enhances my visual perceptive mechanism, as the gazing point on the subject (my hand) is a conceptually imagined point. I have no physical reference of where the point is while eye drawing, and technically speaking I would be lost if not for our inner perceptive mechanisms such as imagination and memory. The latter are mental functions which are of a volatile and flexible nature, and therefore this also means that its limitations characterise each eye-drawing. This point reminds me of the question that if drawing is merely about the eye-hand coordination, what difference is there with a game of tennis? (Walker 2005). I feel that the correspondence with our interior mental image while drawing is this crucial difference.
Figure 31 explicitly illustrates the tension provided by the restraining of my body movements — and specifically, the controlling of the eye movements. Occurrences of evident inattention can be observed. These make-up for the aesthetic compositional arrangement of the eye-drawing, which is characterised by occasional spikes away from the concentration of the hand. I find this information to be of utmost interest within this practice. Firstly, I am not aware these movements happened while eye drawing my hand — I only discovered them at a later stage during post-processing. Therefore, I see them as being part of our innate biological aspects which escape the attempt of restraining my eye movements into a different way of looking from our natural perceptive functioning.

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References:
Walker, J. (2005). Old Manuals and New Pencils. in Davies, J., & Duff, L. (eds.). Drawing, the process. Bristol, UK: Intellect.

Categories
Eye-drawing Hand Practice-based PhD

11: Eye drawing from home

The following video documents myself while eye drawing my hand from different viewpoints. Like most of you, I am now working from home due to the Covid-19 outbreak. I am therefore using my room as a studio. The video below includes some visual documentation of how I have been eye drawing my hand, and I will be posting commentaries about the process and development of this in the near future. In the meantime, stay safe and let’s help each other.

Video documentation while eye drawing my hand from different viewpoints during the Covid-19 lock-down in Edinburgh. Stay safe!

Categories
Eye-drawing Hand Practice-based PhD

10: Viewpoints

Figure 25: 4 superimposed eye-drawings of my hand as seen from 4 different viewpoints, resulting from the eye drawing session in Figure 28

Figure 26: 30 generative tween curves between every resulting eye-drawing in
Figure 25

Figure 27: Generative stop-motion animation of Figure 26

I can argue that I assimilate two different attitudes while eye drawing. The first concerns the limitation and the restriction of [hand] drawing itself, which is characterised by the restraining (and unconscious snaps) of body gestures; by thinking and concentration; by a specific project of looking and by our innate perceptive mechanisms. It is also an attitude of frustration (as is typical of drawing).
The second attitude is more flexible and concerns the methodology acquired while post-processing is taking place within the virtual plane, which is also technology dependant. To a certain extent, this brings to mind what Dillon states in his essay On Elements of Drawing (2009); “we can no longer draw without a certain self-consciousness regarding the medium itself, and therefore we can [afford to] re-visit its fundamental elements.”
Through the practice of eye-drawing, I am re-visiting fundamental elements of drawing through the primary intention of contouring the world with the eyes (and mind), which is leading me to a process of learning, re-learning and un-learning (not necessarily in this order). I am finding that
one of these fundamental elements concerns the instability of drawing itself, which offers an element of change and fluidity. Eye-drawing is also strictly characterised by [ways of] looking.
I find this to be strongly expressed through the generated drawings between different eye-drawings made from different viewpoints. Figure 25 shows the superimposition of 4 eye-drawings of my right hand, made from four different viewpoints. Figure 28 can give an idea of two different views involved. Figure 26 generates 30 tween curves between each eye-drawing shown in Figure 25; while Figure 27 is a generative stop-motion drawing animation of this hybrid between computer-aided curves and eye-drawings of different viewpoints.

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References:
Dillon, B., (2009). On Elements of Line, in The end of the line : Attitudes in drawing. Harbison, I., Dillon, B., Hayward Gallery, Southbank Centre, Middlesbrough Institute of Modern Art, Bluecoat Gallery, . . . Drawing Room. London: Hayward Publishing/Southbank Centre.


Figure 28: A superimposition of two worldview video frames while eye-drawing my hand from different viewpoints