Drawing is a by-product of man’s innate curiosity; its evidence is often traced back to the period early Palaeolithic man exhibits their intuitive skills in sketching both domestic and wild creatures on some reserved cave walls. Their efforts were further promoted and integrated as direct drawings in later designs of visual arts; a practice that is evident in all its sub-divisions, ceramic arts/wares in particular. In the same vein traditional Yoruba potters of Nigeria also employ direct drawing although through incision and coil method to ornament their hand built wares; a process that has been observed to undermine perfection, uniformity and regularity in design. The need to re-engineer the process among others is generating momentum particularly now. In view of the latter, this paper is both bibliographic and a field participatory examination of the attendant challenges posed by the above mentioned method with a view of suggesting transfer method as an alternative in improving its viability in contemporary mass production.
Toyin Akinde, Ladoke Akintola University of Technology, Nigeria
Stream: Arts & Humanities
This paper is part of the ACAH2013 Conference Proceedings (View)
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