Akademik Veri Yönetim Sistemi
ART AND INTERPRETATION, ss.10-17, 2025 (ESCI)
In this article, intellectual research has been tried to be broughtto the fore with exploratory lines applied as sketchs. First of all, it is mentioned what the line is, its positive contributions to the artist and its status as atool and purpose. Explained that are the connection of sketchs, line, research, exploratory line, process with this subject and individuality. Due to the power of the line in defining nature in art and the possibility of providing aesthetic gain, the line is focused on the figures in nature. In this context, the contribution of line to three-dimensional animal figures has been investigated. Lines guide the apparent reality ofthe figures and add individuality to the figure itself. In this article, while constructing the figure through individual practices, it is presented as a suggestion to include linear searches in the nature ofthe form itself, to ensure the transfer of the line between processes and to use mental questions about the figure in a way that explores the structure with exploratory lines. A selection of visuals that support the expression of the subject has been prepared to exemplify the line values in which the artists leave atrace on the ceramic structure with atool, wherethese lines can be clearly read and have a soft, free and free impression ratherthan being very controlled and rigid. The proposal is based on the idea that intellectual connections are related to free lines of inquiry. Qualitative research method was used in this artistic research in which the ceramic work ofthe first researcher was presented in the applications section. As a result, the benefits of using constructive lines on ceramic and porcelain in the comfort ofsketching are interpreted by making artistic and technical inferences and exemplifying the gains of individual practices. Therefore, here, an art research supported by individual practices and readings on the changing purpose and methods of using the line is presented. Thetechnical and aesthetic interpretation ofthe line on the ceramic animal figure is included. It is tried to convey lines that can be used in a way that can both referto the external reality ofthe figure and reflect the comfort and directly of thoughts in the ceramic animal figures constructed. The synthesis ofa minimal internal directly with a differentiated external reality reflects the search for directly in a concrete art object.