10. āļ§āļēāļĢāļŠāļēāļĢāļ§āļīāļāļīāļāļĢāļĻāļīāļĨāļāđ
āļāļĩāļāļĩāđ 3 āļāļāļąāļāļāļĩāđ 1 āļĄāļāļĢāļēāļāļĄ - āļĄāļīāļāļļāļāļēāļĒāļ 2555
āļ
āļŠāļēāļĢāļāļąāļ
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āļ§āļēāļāđāļŠāđāļāļŠāļĢāđāļēāļāļŠāļĢāļĢāļāđāļĢāļđāļāļāļĢāļāļĄāļāļļāļĐāļĒāđ
āđāļĢāļāļāļąāļāļāļēāļĨāđāļāļāļēāļāđāļŠāđāļ āļŠāļĩ āļĢāļđāļāļāļĢāļ āđāļĨāļ°āļāļ·āđāļāļāļīāļ§āđāļāļāļēāļāļĻāļīāļĨāļāļāļĢāļĢāļĄāđāļāļĢāļēāļĄāļīāļ
Drawing, creation of human forms inspired by line, colour, form and texture in ceramic art.
āļāļāļīāļ āļāļļāļāļŠāļļāļāļāļīāđ : Pakit Bunsut
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āļĢāļēāļ§āļāļ°āļāļļāļāļĒāļĄāđāļĨāļāļāļĩāđāļāļĢāļēāļŠāļēāļāļāļīāļĄāļēāļĒ
Ravana Invading Yama-Loka at Prasat Phimai.
āļāļīāļāļāļē āļŠāļļāđāļĄāļāļīāļāļāļē : Pitchaya Soomjinda
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āļŠāļąāļāļĨāļąāļāļĐāļāđāđāļāļŦāļāđāļēāļāļąāļāļ§āļīāļŦāļēāļĢāđāļĨāļ°āļāļļāđāļāļŠāļāļŠāļĄāļąāļĒāļāļĢāļđāļāļēāļĻāļĢāļĩāļ§āļīāļāļąāļĒ:
āļāļēāļĢāđāļĄāļ·āļāļāļ§āļąāļāļāļāļĢāļĢāļĄāđāļāļŠāļąāļāļāļĄāļĨāđāļēāļāļāļē āļ.āļĻ.â2463â-â2477
The Symbols of the Vihara and Uposatha Tympanums in Sriâ-âvichai Monks age:
Lan Na Cultural Politics between 1920â-â1934 A.D.
āļāļēāļāļāļāļīāļ āļāļēāļ§āļĢāļāđ : Chankhanit Arvorn
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āļĻāļīāļĨāļāļ°āļāļĩāļāļĢāđāļ§āļĄāļŠāļĄāļąāļĒ āļŦāļāļķāđāļāļĻāļāļ§āļĢāļĢāļĐāļāļēāļāļāļāļĩāļāļŠāļđāđāļāļąāļāļāļļāļāļąāļ
Chinese contemporary art : A Century from Past to Present.
āļāļīāļĒāļ°āđāļŠāļ āļāļąāļāļāļĢāļ§āļāļĻāđāđāļāļĻāļēāļĨ : Piyasaeng Chantarawongpaisarn
11. āđāļŠāđāļāļŠāļĢāđāļēāļāļŠāļĢāļĢāļāđ
āļĢāļđāļāļāļĢāļāļĄāļāļļāļĐāļĒāđ
āļ
Table of content
- 155 -
āļĻāļīāļĨāļāļ°āđāļāļ§āđāļāļāļāļīāļĄāļīāļŠāļāđ: āļāđāļ§āļāđāļ§āļĨāļēāđāļŦāđāļāļāļēāļĢāđāļāļĨāļĩāđāļĒāļāļāđāļēāļāļāļēāļāļ§āļąāļāļāļāļĢāļĢāļĄāļāļąāđāļāđāļāļīāļĄ
āđāļāļāļīāļāļĢāļāļĢāļĢāļĄāļĨāđāļēāļāļāļē āļŠāļđāđāļĢāļđāļāđāļāļāļāļīāļāļāļīāļāļĨāļāļāļāļ āļēāļāļāļīāļĄāļāđāļāļēāļāļāļĢāļļāļāđāļāļāļĄāļŦāļēāļāļāļĢ
The intimate style, a transition between âtraditionalâ Chiang Mai paintings
and the printed patterns from Bangkok.
āđāļāļāļēāļŠāđāļāļĩāļĒāļ āļāļēâ-âāļĒāļēāļ : SÃĐbastien Tayac
- 191 -
āļāļąāļāļāļķāļāļāļēāļ§āđāļāđāļŦāļāđāđāļāļāļīāļāđāļāļāļĨāļēāļ§
The Notes on Taiâ- Yai in Laos Territory.
āļŠāļĢāļēāļ§āļļāļ āļĢāļđāļāļīāļ : Sarawut Roopin
- 223 -
āļāļ§āļēāļĄāđāļāļ·āđāļ āļ§āļīāļāļĩāļāļĩāļ§āļīāļāļāļēāļ§āđāļāļē āļŠāļđāđāļāļēāļĢāļŠāļĢāđāļēāļāļŠāļĢāļĢāļāđāļāļĨāļāļēāļāļāļĢāļ°āļāļīāļĄāļēāļāļĢāļĢāļĄāļĢāđāļ§āļĄāļŠāļĄāļąāļĒ
Hill Tribes; Beliefs and Ways of Life towards the Creation of Contemporary Sculpture.
āļŠāļļāļāļāļĢ āļŠāļļāļ§āļĢāļĢāļāđāļŦāļĄ : Soonthorn Suwanhem
- 267 -
āļāļēāļĢāļŠāļĢāđāļēāļāļŠāļĢāļĢāļāđāļāļĨāļāļēāļāļĻāļīāļĨāļāļ°āļ āļēāļāļāļīāļĄāļāđāļāđāļ§āļĒāļŠāļĩāļāļĢāļĢāļĄāļāļēāļāļīāļāļēāļāļāļ·āļāđāļāļāļąāļāļŦāļ§āļąāļāļāļāļĢāļĻāļĢāļĩāļāļĢāļĢāļĄāļĢāļēāļ
Creating Printmaking Artworks with Natural Dyes from Plants in
Nakhon Si Thammarat Province.
āđāļāļĨāđāļĄ āļŠāļāļēāļāļĢ : Chlaem Sathaporn
14. 3 āļ§āļēāļĢāļŠāļēāļĢāļ§āļīāļāļīāļāļĢāļĻāļīāļĨāļāđ
āļāļĩāļāļĩāđ 3 āļāļāļąāļāļāļĩāđ 1 āļĄāļāļĢāļēāļāļĄ - āļĄāļīāļāļļāļāļēāļĒāļ 2555
Drawing, the creation of human
forms inspired by line, colour,
form and texture in ceramic art.
Pakit Bunsut
Lecturer, Sculpture Division, Department of Printmaking, Painting and Sculpture,
Faculty of Fine Arts, Chiang Mai University,
Chiang Mai, Thailand.
ABSTRACT
Drawing is one way an artist roughly expresses their idea as they start to
develop their art works. Most artists usually use drawing techniques to
develop their style and process for creating a real piece. Drawing therefore
presents the original visual idea for artworks such as paintings, sculpture,
prints, etc.
Drawingscanexpressfeelingsandemotionsaswellasrelatingstoriesofthings
fromthepast.Artistsnormallytransfertheirideasthroughhandmovements
and the use of some object, such as a piece of wood, stone, charcoal, soil,
to memorize and express their imagination. With my own sculptural art
experience,employingceramictechniques,Ihaveagreatinspirationtocreate
my own style of drawing. It mainly presents my imagination of the human
story, using the elements of color, form and texture.