Hacettepe University Graduate School Of Fine Arts Ceramics Department Master of Fine Arts in Ceramics THE STYLIZATION OF SEA WAVES AND ITS CHARACTERS REFLECTION FOR CERAMIC ART FORM Mohd Yahya DAUD ISMAIL Master’s Thesis in Art Ankara, 2018 THE STYLIZATION OF SEA WAVES AND ITS CHARACTERS REFLECTION FOR CERAMIC ART FORM Mohd Yahya DAUD ISMAIL Hacettepe University Graduate School Of Fine Arts Ceramics Department Master’s Thesis in Art Ankara, 2018 ACCEPTANCE AND APPROVAL The jury finds that Mohd Yahya DAUD ISMAIL has on the date of 09 July 2018 successfully passed the defense examination and approves his Master’s Thesis in Art titled “ The Stylization of Sea Waves and its Characters Reflection for Ceramic Art Form”. Professor, Tuğrul Emre FEYZOĞLU (Jury President) Assoc. Professor, Adile Feyza ÖZGÜNDOĞDU (Adviser) Asst. Professor, Fatma Betül KARAKAYA I agree that the signatures above belong to the faculty members listed. Professor, Pelin YILDIZ Graduate School Director DECLARATION I promise that my thesis/report is completely my own work and that I have provided a source for every quotation and citation. I give permission for paper and digital copies of my thesis/report to be kept in Hacettepe University’s Graduate School of Fine Arts archives under the conditions indicated below:  My thesis/Report can be accessed in full from any location.  My thesis/Report can only be accessed from Hacettepe University premises.  I do not want my thesis/report to be accessed until ..... year(s) later. After this amount of time if I have not applied to an extension of time, my thesis/report can be accessed in full from any location. 09.07.2018 Mohd Yahya DAUD ISMAIL YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI Enstitü tarafından onaylanan lisansüstü tezimin/raporumun tamamını veya herhangi bir kısmını, basılı (kâğıt) ve elektronik formatta arşivleme ve aşağıda verilen koşullarla kullanıma açma iznini Hacettepe Üniversitesine verdiğimi bildiririm. Bu izinle Üniversiteye verilen kullanım hakları dışındaki tüm fikri mülkiyet haklarım bende kalacak, tezimin tamamının ya da bir bölümünün gelecekteki çalışmalarda (makale, kitap, lisans ve patent vb.) kullanım hakları bana ait olacaktır. Tezin kendi orijinal çalışmam olduğunu, başkalarının haklarını ihlal etmediğimi ve tezimin tek yetkili sahibi olduğumu beyan ve taahhüt ederim. Tezimde yer alan telif hakkı bulunan ve sahiplerinden yazılı izin alınarak kullanılması zorunlu metinlerin yazılı izin alınarak kullandığımı ve istenildiğinde suretlerini Üniversiteye teslim etmeyi taahhüt ederim. □ Tezimin/Raporumun tamamı dünya çapında erişime açılabilir ve bir kısmı veya tamamının fotokopisi alınabilir. (Bu seçenekle teziniz arama motorlarında indekslenebilecek, daha sonra tezinizin erişim statüsünün değiştirilmesini talep etseniz ve kütüphane bu talebinizi yerine getirse bile, teziniz arama motorlarının önbelleklerinde kalmaya devam edebilecektir) □ Tezimin/Raporumun....................tarihine kadar erişime açılmasını ve fotokopi alınmasını (İç Kapak, Özet, İçindekiler ve Kaynakça hariç) istemiyorum. (Bu sürenin sonunda uzatma için başvuruda bulunmadığım takdirde, tezimin/raporumun tamamı her yerden erişime açılabilir, kaynak gösterilmek şartıyla bir kısmı veya tamamının fotokopisi alınabilir) □ Tezimin/Raporumun.....................tarihine kadar erişime açılmasını istemiyorum ancak kaynak gösterilmek şartıyla bir kısmı veya tamamının fotokopisinin alınmasını onaylıyorum. □ Serbest Seçenek/Yazarın Seçimi ……../……./…….... Mohd Yahya DAUD ISMAIL ETİK BEYAN Bu çalışmadaki bütün bilgi ve belgeleri akademik kurallar çerçevesinde elde ettiğimi, görsel, işitsel ve yazılı tüm bilgi ve sonuçları bilimsel ahlak kurallarına uygun olarak sunduğumu, kullandığım verilerde herhangi bir tahrifat yapmadığımı, yararlandığım kaynaklara bilimsel normlara uygun olarak atıfta bulunduğumu, tezimin kaynak gösterilen durumlar dışında özgün olduğunu, Doç. Adile Feyza ÖZGÜNDOĞDU danışmanlığında tarafımdan üretildiğini ve Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü Tez Yazım Yönergesine göre yazıldığını beyan ederim. Mohd Yahya DAUD ISMAIL v ACKNOWLEDGEMENTS I would like to take this opportunity to express my profound gratitude and deep regards to my supervisor, Assoc. Prof. A. Feyza Özgündoğdu for her encouragement, monitoring and continuous guidance throughout the writing of this thesis. All the help and support she has given me will certainly take me far in the journey of life that I am going through in the future. I would also like to express deep gratitude to the individuals who helped me in this writing for their valuable support, knowledge and guidance, which helped me in finishing this thesis through various stages. I am obliged to staff members of Ceramic Department, Institute of Fine Arts, Hacettepe University, led by Prof. Emre Feyzoğlu for the information provided by them in their respective fields. I am obliged for their support and cooperation during the completion of my assignment. Finally, I would like to thank my family and friends for always giving me continuous encouragement as well as to those who have willingly assist with their abilities for me in completing this master’s thesis. vi ABSTRACT Daud Ismail Mohd Yahya. The Stylization of Sea Waves and its Characters Reflection for Ceramic Art Form, Master’s Thesis In Art, Ankara, 2018. Ceramic art form is a contemporary art that are gaining attention among art lovers. The effectiveness of an art form is closely related to message that wants to be delivered by artist and also the source of inspiration in generating the artwork. In this study, the stylization concept was chosen to ensure that the resulting ceramic art form has its own unique value plus reviving the use of stylization technique especially in three- dimensional artwork. In addition, the production of art form is seen to have more effective impact if the research subject or idea used is inspired by nature due to its attractive character whether implied or explicit that can be composed to produce an artwork. Therefore, in this research, sea waves will be used as research subject and be applied onto ceramics to produce ceramic art form with stylization concept. Element diversity and characters reflection of sea waves will be fully utilised in conducting this research. The final result of this research will appear in production of three-dimensional ceramic art form influenced by sea waves. Key Words stylization, sea waves, ceramic art form, surface texture vii TABLE OF CONTENTS ACCEPTANCE AND APPROVAL..................................................................................i DECLARATION..............................................................................................................ii PUBLISHING AND INTELLECTUAL PROPERTY RIGHTS DECLARATION..............iii ETHICAL DECLARATION.............................................................................................iv ACKNOWLEDGEMENTS...............................................................................................v ABSTRACT....................................................................................................................vi TABLE OF CONTENTS................................................................................................vii LIST OF TABLE............................................................................................................xii LIST OF FIGURE..........................................................................................................xiii CHAPTER 1 : INTRODUCTION......................................................................................1 1.1. Background of Study..................................................................................1 1.2. Problem Statement.....................................................................................4 1.3. Aim and Research Objectives...................................................................4 1.3.1. Aim......................................................................................................4 1.3.2. Research Objectives...........................................................................4 1.4. Research Question.....................................................................................5 1.5. Scope of the Research...............................................................................5 1.6. Delimitation and Limitation........................................................................5 1.6.1. Delimitations........................................................................................5 1.6.2. Limitations............................................................................................6 1.7. Significant of the Research........................................................................6 CHAPTER 2 : LITERATURE REVIEW............................................................................7 2.1. Introduction to Sea Waves.........................................................................7 2.1.1. What is Wave......................................................................................7 2.1.2. How Sea Waves is Formed.................................................................8 viii 2.2. Types of Sea Waves..................................................................................10 2.2.1. Breaking Waves.................................................................................11 2.2.1.1. Plunging Breaker..................................................................11 2.2.1.2. Spilling Breaker.....................................................................11 2.2.2. Destructive Waves.............................................................................12 2.2.3. Constructive Waves...........................................................................12 2.2.4. Inshore Waves...................................................................................13 2.2.5. Internal Waves...................................................................................13 2.2.6. Kelvin Waves.....................................................................................14 2.2.7. Progressive Waves............................................................................14 2.2.7.1. Capillary Waves....................................................................14 2.2.7.2. Orbital Progressive Waves...................................................14 2.2.8. Refracted Waves...............................................................................15 2.2.9. Seiche Waves....................................................................................15 2.2.10. Shallow Water Waves......................................................................15 2.2.10.1. Tidal Waves........................................................................16 2.2.10.2. Seismic Sea Waves/Tsunami.............................................16 2.2.11. Deep Water Waves..........................................................................17 2.2.12. Swell Waves....................................................................................17 2.2.13. Surging Waves................................................................................18 2.3. Elements and Characteristic of Sea Waves...........................................19 2.3.1. Sea Water Colour..............................................................................19 2.3.2. Line in Sea Wave...............................................................................22 2.3.3. Sea Wave Texture.............................................................................25 2.3.4. Form and Shape of Sea Wave..........................................................26 2.3.5. The Power, Strength, and Violence of Sea Wave.............................28 2.4. Water, Sea, and Art…………………………………….................................29 2.4.1. Sea as Inspiration for Art...................................................................30 2.4.2. Sea Waves Inspired Artworks............................................................31 2.5. Sea Waves as Inspiration for Ceramic Art..............................................35 ix 2.5.1. Ceramic Artworks Inspired by Sea Waves.........................................35 2.6. Art Form.....................................................................................................40 2.7. Stylization in Art........................................................................................41 2.7.1. Introduction of Stylize.........................................................................41 2.7.2. History of Stylize Art...........................................................................41 2.8. Stylization Process...................................................................................42 2.9. Stylization of Sea Waves..........................................................................43 2.9.1. Examples of Existing Stylized Sea Waves on Products....................45 2.10. Conceptual Framework...........................................................................48 CHAPTER 3: RESEARCH METHODOLOGY..............................................................49 3.1. Introduction...............................................................................................49 3.1.1. Experimental Work............................................................................49 3.1.2. Research Methodology Flow Chart....................................................50 3.2. Data Collection and Analysis……............................................................51 3.2.1. Highlighted Aspect to be Applied to Artworks.....................................51 3.2.1.1. Capillary Waves...................................................................51 3.2.1.2. Sea Waves Characters Reflection........................................52 3.2.1.3. Repetition Technique...........................................................52 3.3. Design Process.........................................................................................53 3.3.1. Design Structure Concept (Mood Board)..........................................53 3.3.2. Sea Waves Stylization Process.........................................................54 3.3.3. Sketches...........................................................................................56 3.3.4. Idea Development.............................................................................56 3.3.5. Design Development.........................................................................56 3.3.6. Final Drawing....................................................................................57 3.4. Surface Texture Tests and External Evaluation.....................................58 3.4.1. Texture Tests on Clay Body...............................................................58 3.4.1.1. Coiling Technique Test.........................................................58 3.4.1.2. Carving Technique Test.......................................................60 x 3.4.1.3. Extrude Technique Technique.............................................62 3.4.1.4. Results.................................................................................63 3.4.2. Types of Clay Test...........................................................................64 3.4.2.1. Results................................................................................66 3.4.3. Glaze Colour test.............................................................................66 3.5. Technical Process: Fabricating...............................................................72 3.5.1. Clay Preparation................................................................................73 3.5.2. Maquette (Mock up)...........................................................................73 3.5.3. Forming Process (Artwork)................................................................74 3.5.3.1. First Series.........................................................................74 3.5.3.2. Second Series....................................................................77 3.5.4. Bisque Firing......................................................................................79 3.5.5. Glazing...............................................................................................80 3.5.6. Glaze Firing........................................................................................82 3.5.7. Finishing............................................................................................82 3.6. Results.......................................................................................................83 CHAPTER 4: ANALYSIS AND FINDING......................................................................84 4.1. Introduction...............................................................................................84 4.2. Accomplished Results..............................................................................84 4.2.1. Final Artworks for First Series............................................................84 4.2.2. Final Artworks for Second Series......................................................86 4.2.3. Overview on Final Artworks...............................................................87 4.2.3.1 First Series Artworks............................................................87 4.2.3.2. Second Series Artworks.......................................................87 4.3. Reviews and Analysis in the Artwork Making Processes.....................88 4.3.1. Form and Shape...............................................................................88 4.3.2. Colour and Glazes............................................................................88 4.3.3. Technique and Materials...................................................................89 4.3.4. Tools.................................................................................................90 xi 4.4. Problems and Solutions...........................................................................90 CHAPTER 5: CONCLUSION AND RECOMMENDATIONS.........................................92 5.1. General Discussion...................................................................................92 5.1.1. Reviving Stylization Art......................................................................92 5.2. Conclusion.................................................................................................93 5.3. Recommendation......................................................................................94 REFERENCES..............................................................................................................95 TURNITIN REPORT......................................................................................................98 xii LIST OF TABLE Tables Title Page Table 1 Comments and evaluation for types of clay test 65 Table 2 Glaze test on stoneware body 71 Table 3 Problems and solutions 91 xiii LIST OF FIGURE Figures Title Page Figure 1 Ripples formed resulting from the throwing of a stone in a a calm water. 7 Figure 2 Illustration of the basic parts of the sea waves and its Movement of water particles with the passage of sea waves 9 Figure 3 Plunging breaker wave 11 Figure 4 Spilling breaker wave 11 Figure 5 Destructive waves 12 Figure 6 Constructive waves 12 Figure 7 Inshore waves 13 Figure 8 Image taken from the International Space Station shows Internal Waves through the Carribean 13 Figure 9 Capillary waves 14 Figure 10 Refracted waves 15 Figure 11 Photo showing difference in water level during low tide (top) and high tide (below) 16 Figure 12 Tsunami waves hit the coast of Minamisoma in Fukushima Prefecture 17 Figure 13 Swell waves 18 Figure 14 Surging waves 18 Figure 15 Example of the colour range used by Marion Boddy-Evans for seascapes paintings (right) 20 Figure 16 Example of the colour range used by Marion Boddy-Evans for seascapes paintings (right) 21 Figure 17 The diversity of lines on capillary waves 22 Figure 18 The lines formed on the curve of the plunging wave before it collapsed 23 Figure 19 The lines that appear on the waves as it crashed the shore 23 xiv Figure 20 Seashore from bird’s eye point of view 24 Figure 21 Sea waves view from the hill nearby shore 24 Figure 22 Capillary waves with a soft texture 25 Figure 23 Stormy wave with a rough-looking texture 26 Figure 24 Sea wave shape 27 Figure 25 Sea wave shape 27 Figure 26 Sea wave shape 27 Figure 27 A ship washed ashore during the 2011 Japan tsunami Amidst wreckage in Kesennuma, Miyagi, Japan 29 Figure 28 A ship struggle against the rogue waves 29 Figure 29 Katsushika Hokusai, The Great Wave of Kanagawa 32 Figure 30 Gustave Courbet, The Wave 1869 33 Figure 31 Claude Monet, Stormy Sea in Etretet 1883 34 Figure 32 Denise Romecki, Reflection (n.d) 35 Figure 33 Denise Romecki, Oceanwave (n.d) 36 Figure 34 Denise Romecki, Powercurl (n.d) 36 Figure 35 Masaaki Shibata, Tsunami Series, 2012 37 Figure 36 Masaaki Shibata, Tsunami Series, 2012 37 Figure 37 Jennifer McCurdy, Wave Vessel, 2007 37 Figure 38 Jennifer McCurdy, Tsunami Vessels, 2016 38 Figure 39 Richard Baxter, Rolling Wave (n.d) 38 Figure 40 Richard Baxter, Small Pool (n.d) 38 Figure 41 Bonnie Belt, Wave Rim Teapot (n.d) 39 Figure 42 Bonnie Belt, Oval Wave Bowl (n.d) 39 Figure 43 Helene Fielder, Ocean Wave 2012 40 Figure 44 Stylization process of a bird 42 Figure 45 Example of stylized sea waves from Ha Bun Shu, Japanese Book of Wave and Ripple Design 43 Figure 46 Examples of computerized stylized sea wave designs 44 Figure 47 Backpacks with stylized sea waves design 45 xv Figure 48 Ceramic dinner set with stylized sea waves pattern 46 Figure 49 Stylized sea waves design mousepad 46 Figure 50 Japanese table mat sea waves design 46 Figure 51 Stylized sea waves design phone case 47 Figure 52 Mural decal sticker with stylized sea waves design 47 Figure 53 Gift wrapping paper with stylized sea waves design 47 Figure 54 Conceptual framework 48 Figure 55 Illustration of design concept 54 Figure 56 Sea waves stylization process 55 Figure 57 Chosen stylized wave design 55 Figure 58 Idea development process 56 Figure 59 Design development process 57 Figure 60 Clay is rolled into rope shape 59 Figure 61 Results of stylized wave pattern test on clay using coiling technique 59 Figure 62 Tools 1: Set of metal carving tools 60 Figure 63 Tools 2: Handmade carving tools. Made with plastic pen barrel by cutting it and forming a C shape tip 60 Figure 64 The final result of carving techniques on clay using Tools 1 61 Figure 65 The final result of carving techniques on clay using Tools 2 61 Figure 66 Extruder tools used for the test 63 Figure 67 Wedging process to remove air pockets in clay 73 Figure 68 Maquette that has been produced in leatherhard state 74 Figure 69 Vase-like shape form using throwing technique 75 Figure 70 Carving process on the clay surface 76 Figure 71 Final form of the first series artwok in leatherhard state 76 Figure 72 Process of making slab using rolling pin 77 Figure 73 Attaching the frame structure for the lower part of the artwork 78 Figure 74 Final form of the second series artwork in leatherhard state 78 xvi Figure 75 Example of bisque-fired works 80 Figure 76 Glazing process using spray technique 81 Figure 77 Artwork 1: first series final artwork 84 Figure 78 Artwork 2: first series final artwork 85 Figure 79 Artwork 3: first series final artwork 85 Figure 80 Artwork 1: second series final artwork 86 Figure 81 Artwork 2: second series final artwork 86 Figure 82 Combination of glazes applied onto final artworks 89 1 CHAPTER ONE INTRODUCTION 1.1 BACKGROUND OF STUDY Sea is a natural treasure to the whole world that gives great influence in every aspect of human life. The oceans have long been recognized as one of the humanity’s most vital natural resources (Costanza, 1999). The importance of the sea covers a wide range of areas such as trade, transportation, fishery and aquaculture, mineral extraction, and power generation. In addition, the use of the sea for recreational and leisure has become a significant industry in the twentieth century involving a lot of activities including swimming, diving, surfing, and sailing. The sea is also important for ecology and environment. Seas cover more than 70% of the surface of the globe and play an essential role in weather and climate. The oceans absorb 80% of the heat and 20% of the carbon emissions produced by human activity (French Maritime Cluster, 2015, para.4). One of the interesting elements of the sea is the waves, sea waves are very important and necessary part for our planet, and the motions that created from the wave movement perform a vital role in transporting energy around the globe and shaping the coastlines. Waves occur through seamless unpredictable variables conditions such as wind, season, weather and disruptions on the seabed such as earthquakes and volcanic eruptions. This environmental condition is causing sea waves to always alter its nature and appear with different behaviour and characteristics. As an example, the shape, size, colour, speed, and strength of the waves are constantly changing. Slater (2012) states that “No two waves have ever been exactly the same, and each unique creation of wind and water will find its own way to hit our shore one every second in time into eternity” (p.10). Generally, sea waves are divided into several and the common sea waves type are capillary, surging, spilling, plunging and also seismic wave which commonly called a tsunami. Throughout history, sea and waves have always been a subject of works of art. The influence of sea in art is very clear as it inspired and has been depicted in wide forms of artistic works includes paintings, literature, folk art, cultural art, music and songs, and photography ranging from ancient to modern and contemporary art. The sea and 2 shore have always inspired artists. In contemporary art, seascapes lend themselves to abstraction and to modern styles. The simplicity of seascape compositions both invite and require an artist’s creativity to bring motion, interest, a story, or a meditation into each scene ("Waves of Inspiration," 2016, para.3). Waves possess unique characteristics and unlimited possibilities that are open to be explored. For that reason, it is perfectly suitable to be used as research subject in the production of artwork. For example, for its physical appearance, the sea waves have a rich colour range and unique surface textures that are changeable depends on the weather conditions. Apart from that, the characteristic of the wave is not limited to its physical properties only. Waves are generally known to gives emotional impact on one's life depending on the person's experience with it. As stated by Savage (2009), “Some people love the ocean. Some people fear it. I love it, hate it, fear it, respect it, resent it, cherish it, loathe it, and frequently curse it. It brings out the best in me and sometimes the worst” (para.2). For some people, the waves give a sense of calm, peacefulness, unity, and happiness. However, for those who have past experiences with violence, damage, and harm caused by the power of the destructive waves have made them traumatized and shadowed in fear of the waves. Therefore, these elements and characters reflection from sea waves has great potential to be translated into the form of artworks. Most of the existing artworks inspired by sea waves are only presented in the two- dimensional art such as paintings, drawings and digital prints. With the continuous introduction of new concepts and the growing of art mediums, it is rather inappropriate for wave-inspired artwork to be left ignored and unchanged for long periods without new developments. Therefore, new approaches need to be taken and the use of ceramic as a medium has been identified to provide new changes. Contemporary ceramic art is making a great revival in the world of fine arts, and it is doing so with such style and elegance (Bozovic, 2016). The use of ceramics may be able to refresh and revive the use of the sea waves as a subject in the production of artworks. It also opens up space for interesting elements and characters of sea waves to be applied to three-dimensional artwork. In addition, the combination of waves and ceramics has the potential to trigger something new due to the similarity shared between them which both of them are based on nature. Creating with natural materials deepens the artistic experience and 3 the effect it has on the practitioner. Furthermore, as we cultivate our real relationship with nature through our creative expression, this positive change will grow and expand into other fields of life (Har-Lev, 2010). In terms of concept, art form can be seen as a kind of contemporary art that is increasingly gaining attention. According to Esaak (2014), form, in art, means the whole of a piece's visible elements and the way those elements are united. In this context, form allows us as viewers to mentally capture the work, understand it and attempt to analyze it. In this sense, the making of the ceramic art form not only able to propel the use of ceramics as a new art medium but it can give great effect to the audience as well as be an effective way in conveying information and messages. Many artworks produced nowadays uses sea and waves as the subject and source of inspiration. It is cannot be denied that there are actually some efforts taken to diversify the production of wave-inspired artworks. However, if observed carefully, most existing artworks inspired by sea waves only tend to replicate the waves without much development and improvement on the subject. This is quite a setback as the potential of the sea waves is not fully utilized. Therefore, it is very important to adopt a new approach to producing sea waves-inspired ceramic artwork. Fundamentally, the use of appropriate techniques is crucial to ensure that the elements and characters from the selected subject can be fully absorb and translated into the ceramics artwork. In this regard, the use of stylized techniques in the production of ceramic pieces is something intriguing to be experimenting. Historically, the creation of artworks in its early stages often uses stylization techniques however its popularity does not last. As time progressed, the goal for many artists became increased mimesis, and stylization began to slowly give way to more realism in art (Principle Gallery, 2017). Therefore, the decision to produce sea waves-inspired artworks using stylization technique is a worthwhile effort as it offers great opportunity to revive the use of this technique especially in the context of ceramic art. Ceramic art form inspired by sea waves can be highlighted as an artwork that gives a new approach with a different perspective to ceramic art due to its relation to nature. Besides that, the use of stylization techniques will certainly produce something interesting and open up new opportunities in the production of ceramic artworks. The 4 establishment of new medium and concept in producing artwork inspired by sea waves brings about a great benefit for artists and art practitioners. Other than that, Sea waves also can be seen as an attractive intermediate to be used in making artwork because it offers a lot of interesting features not only physically but also on the background history and its role in nature. 1.2 PROBLEM STATEMENT Today, driven by their unique element and characteristics and also great historical events involving sea waves, efforts are continuously being made to produce artworks which are inspired by the sea waves. However, most of the artworks often end up with results that can be considered as duplication as it only attempts for a full, precise and accurate representation of sea waves visual appearance. In addition, the presentation of sea wave-related artworks is also regarded as inadequate, because most of the existing works are usually two-dimensional. For example, artworks such paintings, drawings and digital printings. Other than that, greater emphasis should be given to the study of the sea waves from the perspective of art. This is because the previous study of sea waves mostly highlighted on the aspects of science and technology only thus less interpreted in the context of art. As a result, lack of research on elements and characteristic of sea waves in the context of art presentation. Furthermore, less experiment is made on using ceramics as a medium to produce sea waves inspired artworks. 1.3 AIM AND RESEARCH OBJECTIVES 1.3.1 Aim The aim of this research is to produce ceramic art form inspired from sea waves. Also to explore the possibility of applying sea waves elements and characteristics on ceramic media using stylization technique. 1.3.2 Research Objectives The following are the objectives for this research: 5 i.) To identify interesting elements and characters in sea waves and its potential to be applied to ceramics. ii.) To study the types and behaviour of sea waves and also its character reflections. iii.) To conduct an experiment on the use of stylization technique for the production of sea waves-inspired ceramic art. iv.) To identify the suitability of materials, methods and tools for the application of stylized sea waves pattern onto the ceramic surface. 1.4 RESEARCH QUESTION i.) What elements and characteristic can be highlighted from the sea waves to be applied to ceramics artwork? ii.) What is the nature of sea waves that can be studied in the context of ceramic art? iii.) What kind of concept or theme that can be used in the production of ceramic artwork, inspired by the sea waves? iv.) What kind of artworks that have been produced inspired by the sea waves and how they are applied and presented? 1.5 SCOPE OF THE RESEARCH i.) Overall, this research focused on the application of stylized sea waves to ceramics. ii.) Highlighting the diversity of the nature and character reflections of sea waves into three-dimensional ceramic arts. iii.) Stylizing the varied movement of sea waves into pattern and design. iv.) Exploration and experiment on ceramic glaze which reflects the colour and movement of the sea waves. 1.6 DELIMITATION AND LIMITATION 1.6.1 Delimitations Within the parameter of the adopted methodology, observation and investigation on the sea waves which carried out in this research did not set a specific location of where the sea waves are captured and recorded. This is due to the fact that the sea waves itself is geographically very wide. However, this research has accepted the fundamental 6 properties, processes and general characteristics of sea waves as a reference in conducting the study. This research also does not intend to challenge the two-dimensional sea waves stylized design which has been produced and commercialized. As an example, wallpapers, textiles, gift wrappers or any other computer generated printing products. On the contrary, this research emphasizes on the application of sea waves that have been stylized into three-dimensional ceramic works or in other words, ceramic art form. This is because computer-generated products considered to be on other platforms with the help of technology and intended for commercial purpose only. Whereas, the making of artworks in this research, is intended for the appreciation of art and acknowledging its aesthetic value which also wholly retains the value of the sea waves as a research subject. 1.6.2 Limitations The collection of data in this research are based on few methods. However, this research depends largely on visual analysis technique such as observation to images and videos which promote a better understanding of sea waves elements and characteristic especially on its physical appearances. Therefore, it is important to emphasize here that the physical condition of the sea waves is always changing and influenced by external factors such as earthquakes, winds, weather, and seasons. Therefore, the observation made on the sea waves for this research can be considered changeable and not fixed as it depends entirely on the moment and place where the collected data is recorded, either in the form of images, videos or other digital sources. 1.7 SIGNIFICANT OF THE RESEARCH i.) Paving the way for possibilities of applying other stylized subjects or materials onto ceramics, thereby reviving the use of stylization in artworks. ii.) It is hoped that this study will be a boost for artists and art practitioners to explore new approaches in applying the research subjects into three-dimensional ceramics. iii.) The findings and result can be transformed into a documented article that provides a comprehensive understanding of sea waves elements and characteristics and its application on ceramics. 7 CHAPTER TWO LITERATURE REVIEW 2.1 INTRODUCTION TO SEA WAVES 2.1.1 What is Wave Waves according to Dictionary.com (2017), is a disturbance on the surface of a liquid body, as the sea or a lake, in the form of a moving ridge or swell. While the definition of waves in context of science is; a disturbance, oscillation, or vibration, either of a medium and moving through that medium (such as water and sound waves), or of some quantity with different values at different points in space, moving through space such as electromagnetic waves or a quantum mechanical wave described by the wave function (The American Heritage Science Dictionary, 2002). The initial thought concerning waves leads us to imagine that waves move across the surface of the sea, ponds, lakes, or other bodies of water. In a simpler sense, a wave can be considered as a distraction that moves through the medium from one place to another. As an example, when a stone is thrown into a pond, it forms a distraction and produces ripples that move together as the front in a straight line course, or the waves may be round waves that start from the location where the distraction takes place in the pond. The wave is defined as the energy transferred through medium with regular vibration or oscillating motion. A few examples of waves are water wave, light wave, electromagnetic wave, sound wave, seismic wave (“Waves - Definition, Types & Function,” 2017). Figure 1: Ripples formed resulting from the throwing of a stone in a calm water. Photo by Qimono (2016). 8 The waves appear in many forms and structures. Although all the waves share a few fundamental trademark features and behaviours, a few waves could be distinguished from the others by several features. For example, one method of distinguishing waves is with the medium channel where they move. Waves are categorised into three which is Electromagnetic Waves, Mechanical Waves, and Matter Wave. Sea waves are categorized as Mechanical Waves. Mechanical Wave is a wave that is unable of delivering energy through a vacuum. They are emitted by intermolecular powers and also by the impacts among particles. A Mechanical wave is a periodic disturbance, which requires a material medium (solid, liquid or gas) for its propagation (“Waves - Definition, Types & Function,” 2017). These waves are also called as elastic waves because their dispersion relies on the elastic features of the medium they are passing through. The particles of the medium in these waves, simply shake forward and backwards around its mean position. Among the examples of Mechanical Wave are ocean waves, sound waves, water waves, a vibration of a string, ultrasounds, earthquake waves, vibrations in gas, and oscillations in spring, internal water waves, and waves in slink etc. (“Waves - Definition, Types & Function,” 2017). 2.1.2 How Sea Waves is Formed Generally, the waves are the oscillations of water that can be seen in any water basin such as lakes, seas, rivers and even a small pond. For a wave to exist there must be an initial equilibrium state, which is perturbed by an initial disturbance and compensated by a restoring force (Toffoli & Bitner-Gregersen, 2017). Generating components of sea waves are mainly started by wind, atmospheric pressure gradients, gravitational pull between the Earth, Sun, and Moon, and also seismic disturbance of Earth the during earthquakes. Waves in a sea are more appropriately called wind waves, as they are developed by the wind which is the main disturbing force in the open sea. The definition is: wind- generated waves are surface waves that occur on the free surface of oceans, seas, lakes, rivers, and canals or even on small puddles and ponds (Fabricius, 2010). When winds start to blow over the sea surface, it builds tension and pressure. Then, capillary 9 waves, which is small rounded waves, begin to form. These waves will constantly change according to the strength of the wind. As winds increase, capillary wave development increases and the sea surface becomes rough ("Waves," 2003). This demonstrates excellent circumstances for the wind to increase the surface region of the wave, exchanging expanded power to the waves. While according to Marine Insight (2017), When the wind is blowing on the sea, the surface exerts the gravitational force on the bottom layer of the wind. This, in turn, draws on the layer above it until it reaches the top layer. With different gravity pulls on each layer, the wind moves at a different speed. The top layer falls, forming a circular motion. This produces downward pressure on the front and upward pressure on the back of the surface, causing the wave. Figure 2: Illustration of the basic parts of sea waves and its movement of water particles with the passage of sea waves. Illustration by Intro Geology Course at Fort Hays State University (n.d). As shown in Illustration 1 above, a group of waves comprises of a few crests at the top and separated by troughs. The height of the waves is called the amplitude, the distance between successive wave crests is known as the wavelength, and the time between successive wave crests is the period (Cousteau, 2014). The height, length, and period eventually achieved by a wave depend on three factors: (1) wind speed; (2) length of time the wind has blown; and (3) fetch, the distance the wind has travelled across the open water. 10 When a wave drawing near to the shoreline, the water becomes shallower and affects wave behaviour. The wave then starts to “feel bottom” at a water depth equal to its wave base. As wave progresses, the slightly faster waves farther out to sea catch up, decreasing the wavelength. At this moment, the speed and length of the wave slowly decrease, and the wave grows higher until it finally becomes too steep and collapses, or breaks. Waves are categorized into different types depends on their periods. They comprise of ripples, tides and also tsunami. 2.2 TYPES OF SEA WAVES Sea waves are formed as a result of the endless movement of water mixed with the blowing winds and the gravitational forces of the sun and the moon. Winds, however, are the main source that generates sea waves which, lead to diverse physical appearances and conditions of the waves itself. Waves can vary in size and strength based on wind speed and friction on the water's surface (Briney, 2017). The sea waves are classified based on its behaviour and formation. According to Marine Insight (2017), here are the different types of waves of the sea:  Breaking Waves a) Plunging Breaker b) Spilling Breaker  Destructive Waves  Constructive Waves  Inshore Waves  Internal Waves  Kelvin Waves  Progressive Waves a) Capillary Waves b) Orbital Progressive Waves  Refracted Waves  Seiche Waves  Shallow Water Waves a) Tidal Waves b) Seismic Sea Waves/Tsunami  Deep Water Waves  Swell Waves  Surging Waves 11 2.2.1 Breaking Waves When waves nearing the shore, the base of the wave starts to touch the floor of the sea and the wave's prole starts to alter. The movement of the wave slowed by this friction, but still maintains its initial pace. Effectively, it starts leaning forward then collapses on top of itself, forming a breaker. They are two types of breaking waves: 2.2.1.1 Plunging Breaker A plunging breaker drawing near a steeper seashore and assemble a curling crest that moves above the air pocket. The curling water is travelling faster than a slow wave base, and the water flows itself with anything underneath for support. Figure 3: Plunging breaker wave. Photo by NOAA (n.d). 2.2.1.2 Spilling Breaker A spilling breaker is the exemplary moving wave coming up an increasingly sloping sandy shoreline. Lengthy slope depletes the wave energy over a vast space. Figure 4: Spilling breaker wave (Slater, 2012). 12 2.2.2 Destructive Waves Short wavelength waves and an upright ellipsis. As the wave breaks on a steep beach, the water plunges ahead into the trough. They have a strong backwash and can easily drag the objects into the sea. Destructive waves are typical in offshore wind circumstances. Figure 5: Destructive waves. Photo by Mosley (2017). 2.2.3 Constructive Waves Constructive waves are produced in calm weather and when the ocean floor has a gentle slope. It has long wavelength and low height. It is less powerful than destructive waves. As the wave approaches the shore, it slowly releases energy, and the crest gradually spills forward down its face until it is all white-water. When the wave breaks, the water reaches the upper part of the beach with little backwash (Marine Insight, 2017). Figure 6: Constructive waves. Photo by Sanford (2017). 13 2.2.4 Inshore Waves Inshore waves length is not as much as the profundity of the water they enter, which diminishes the speed of the waves. This led to the reduction of the wavelength and increment in the height, which eventually breaking the wave. Figure 7: Inshore waves. Photo by GotriKroya (2012). 2.2.5 Internal Waves Internal waves are interferences that occur at the boundary between the mass of water and various densities. The heights of the wave can become quite big, occasionally surpass 330 feet (100 meters) and may be formed by turbidity currents, tidal movement, passing ships, or wind stress ("Waves," 2003). The waves have a minimum surface expression, however, if the crests nearing the floor, they have an effect on the reaction of light from the water. As internal waves approach a landmass, they build up and expend their energy as turbulent currents. Figure 8: Image taken from the International Space Station shows Internal Waves moving through the Caribbean. Image by NASA (2013). 14 2.2.6 Kelvin Waves Kelvin waves in the western Pacific Ocean are internal waves that form near Indonesia and travel east toward the Americas whenever the west-to-east trade winds diminish. A typical Kelvin wave is 10 centimetres high, hundreds of kilometres wide, and a few degrees warmer than surrounding waters ("Waves," 2003). 2.2.7 Progressive Waves These waves are called Progressive Waves because it moves at a steady speed. Progressive Waves divided by two types: 2.2.7.1 Capillary Waves The shortest-period waves and the first to be seen on the sea surface when wind begins blowing are the capillary waves. This peculiar wavy structure is generally forced by a light breeze of speeds of about 3m/s and assumes a fine structure of small ripples with a wavelength of less than 1.5cm and period less than 0.1s. The dynamics of capillary waves is dominated primarily by surface tension (Lamb, 1994). As waves continue growing under the influence of wind, the originally small ripples develop into longer waves. For wavelength of approximately 1.7cm (or wave period of about 0.33s), gravity cancels capillary effects, suppressing dispersion (Lamb, 1994). Figure 9: Capillary Waves. Image by Fenstermacher (n.d). 2.2.7.2 Orbital Progressive Waves Formed at the boundary of two liquids with different density. 15 2.2.8 Refracted Waves Travel in shallow water when they approach the shore. The shallowness decreases the power of the wave and causes a curve. These are usually seen near headlands and bays (Marine Insight, 2017). Figure 10: Refracted Waves. (“Wave refraction and interference patterns,” n.d) 2.2.9 Seiche Waves The seiche phenomenon correlates with the shaking of water in a conned area at a thunderous recurrence. Whenever aggravated, water in a bathtub, pan, lake, ocean basin, or harbour will slosh forward and backward at a specific thunderous recurrence. The recurrence will adjust with changes in the measure of water and the form and size of the conned area. Seiche is one sort of standing wave as opposed to a progressive wave. The periods of seiche wave can keep going for a couple of minutes to over a day and have a great degree of wavelengths. Nevertheless, destruction from seiche waves is unlikely due to the wave height in the vast sea is just a few inches ("Waves," 2003). 2.2.10 Shallow Water Waves Shallow water waves are those moving in water less than one-twentieth the depth of their wavelength. Waves moving toward shallow water at a coastline are in this class. The circles of water particles in these waves are at ellipses instead of circles. The movements of shallow water wave can be felt at the base, and their collaboration with the base influences both wave and ocean bottom ("Waves," 2003). They are of two types of shallow water waves: 16 2.2.10.1 Tidal Waves Tides are actually the biggest waves on the planet, and they cause the sea to rise and fall along the shore around the world (Fairclough, 2017). Tides exist on account of the moon and the sun’s gravitational pull, yet contrast depends upon where the moon and sun are in association with the sea as the earth spins on its axis. The pull of the moon and sun cause high tides or two bulges in the sea on opposite directions of the earth. Because the moon is significantly closer to the earth, it has more capacity to pull the tides compare to the sun and surely it is the essential power creating the tides. Nevertheless, when the moon and sun bolster each other's gravitational pulls, they produce bigger tides called spring tides. The opposite of this, when the gravitational forces of the moon and sun pull from opposite sides of the earth and cancel each other out is called a neap tide and results in a smaller tidal range (Fairclough, 2017). Figure 11: Photo showing difference in water level during low tide (top) and high tide (below). Photo by Brown (n.d.). 2.2.10.2 Seismic Sea Waves/Tsunami This waves move very fast in vast water, have a huge height in shallow water, and are extremely devastating and dangerous (Marine Insight, 2017). Seismic waves are shaped when an extreme disturbance, for example, an earthquake that affects the sea. Seismic waves are famously known or called in their Japanese name which is a tsunami. In some cases, they are inaccurately called tidal waves; however, they are not related to the tides. 17 Tsunamis typically have wavelengths of 200km, which makes them shallow water waves even in the ocean. They travel extremely fast in open water, 700 km/h (435 m/h) ("Waves," 2003). These waves have insignificant wave heights at sea, but in shallow waters, they can surpass 30m (100 ft.). They may move across the sea almost unnoticed until the point that they arrive at shore. Earthquakes in the Aleutian Trench regularly send large seismic waves across the Pacific Ocean, affecting Hawaii and the coastlines of the North Pacific Ocean ("Waves," 2003). Figure 12: Tsunami waves hit the coast of Minamisoma in Fukushima Prefecture. Photo by Tomizawa (2011). 2.2.11 Deep Water Waves Deep water waves are comprised of various waves with different distances overlapping on each other. They are powerful, straight and long, and travel a great distance (Marine Insight, 2017). 2.2.12 Swell Waves Swells are defined as mature undulations of water in the open ocean after wave energy has left the wave-generating region (Briney, 2017). Swell waves are long-crested, consistently symmetrical waves that have move outside the zone of their origin. Swell waves expel little energy and travel vast areas of the ocean, fanning out from approaching storm systems ("Waves," 2003). Wave scattering starts to produce results and the swell waves end up plainly assembled by their wavelength. Waves with longer wavelengths travel faster and quickly outperform the slower waves with shorter 18 wavelengths. The long-wavelength waves do not have steep wave heights but move out of the generating area first, with wave groups of progressively shorter wavelengths following. This procession is termed a "swell wave train" and can travel long distances, breaking on distant shores. ("Waves," 2003). Figure 13: Swell Waves. Photo by Jonathan (2012). 2.2.13 Surging Waves Surging waves is the wave that do not break in the traditional sense. This wave comes in out of relatively deep water onto steep beaches and it will surge up the beach. It can happen at high tide when the beach profile is too steep to enable the wave to break properly. Figure 14: Surging Waves. (“Surging wave at Cape Leeuwin,” n.d.) 19 2.3 ELEMENTS AND CHARACTERISTIC OF SEA WAVES In the production of works of art, observations on the research subject is a very important process for determining the direction and content for the artworks that are going to be produced. In this sense, the elements and characteristics of the sea waves should be thoroughly addressed to maximize their potential to be translated into artwork. Based on the elements and principles of art as a guideline, this study attempts to identify and deeply understand interesting elements and characters of sea waves and its potential to be applied to ceramics. Among the elements of sea waves that have been identified for this research is, colour, form, texture, line, and shape as well as its characteristics that includes its power, strength, and violence. 2.3.1 Sea Wave Colour Sea waves have very interesting attributes in terms of colour as they are constantly changing and therefore appear with a very wide range of colours. When we look at the sea, our eyes actually see the colours that are reflected back. The colours that we see in the sea are influenced by what is inside the water, and what colours it absorbs and reflects (Kennedy, 2017). There is no simple explanation to answer the questions about the colour of the sea waves because it largely depends on a range of elements, such as the weather, location, the depth of the sea, how much wave action there is, and how rocky or sandy the coast is. The colour of the sea and oceans can change markedly according to both time and place (Fleming, 2015). The variation and changes in sea colour are closely related to both physics and biological factors. If observed, sometimes the colour of the sea appears to be green and this occurs as a result of biological reactions by tiny organisms called phytoplankton. Water with lots of phytoplankton (tiny plants) in it will have low visibility and look greenish or greyish-blue. That is because the phytoplankton contains chlorophyll. The chlorophyll absorbs blue and red light, but reflects yellow-green light. So this is why plankton-rich water will look green to us (Kennedy, 2017). Generally, when mentioned or discuss about the colour of the sea, of course, the blue colour that first comes to our mind. This is true, because most of the time the sea does looks blue from our observation. In a tropical ocean, for example, the Caribbean, the 20 water is likely to be a beautiful turquoise colour. This is because of the absence of phytoplankton and particles in the water. Water molecules are better at absorbing light with longer wavelengths, meaning the reds, yellows and greens. This mostly leaves the blues, which have shorter wavelengths. As blue light is less likely to be absorbed, it can penetrate to deeper depths, making the sea appear brilliant blue (Fleming, 2015). In addition, for the areas that are closer to shore, the sea may sometimes appear to be a muddy brown. This is due to sediments being stirred-up from the bottom of the sea, or the shores and coastal areas being hit by the storms. Sand and silt carried into the sea from rivers, or mixed up from the seafloor by strong waves, can affect the colours of coastal seawater. Areas of river outflow, sewage outfall, or intense land runoff, near the coasts, may contain large amounts of sediments, which give seawater dirty colour (Chamberlin, n.d.). To some extent, the sea also reflects the colour of the sky. That is why when we look across the sea, it may look grey if it is cloudy, orange if it is during sunrise or sunset, or brilliant blue if it is a cloudless, sunny day (Kennedy, 2017). According to seascapes paintings artist, Marion Boddy-Evans (2016), The sea can range in colour from bright blues to intense greens, silver to grey, foamy white to polluted slick. She also stated that, when looking and observing at sea colour, do not look at only the water but also look at the sky, and consider the weather conditions as it influences the selection for acquiring real sea colour. She has spent years in observing the sea to produce the best seascapes art. As a result of her experiences, she has named the range of colours that she used for seascapes paintings as shown below: Cerulean Blue (Winsor & Newton) Cerulean Blue (Brera) Cerulean Blue Deep (Golden) Prussian Blue (Daler Rowney) Ultramarine (Liquitex) Idanthrene Blue (Daler Rowne Figure 15: Example of the colour range used by Marion Boddy-Evans for seascapes paintings (right). Photo by Marshall (2016) (left). 21 Phtalo Blue Red Shade (Winsor) Cobalt Turquoise (Winsor & Newton) Cobalt Teal (Golden) Phtalo Turqoise (Daler Rowney) Phtalo Green Blue Shade (Daler Rowney) Green Gold (Golden) Figure 16: Example of the colour range used by Marion Boddy-Evans for seascapes paintings (right). Photo by Bishop (2016) (left). The fresh greenish-blue colours of sea waves are always spectacular and coupled with the sounds of waves crashing on the beach, give us a sense of calm and peace. In the production of artwork, colour is the key role in conveying the message and meaning. The diversity of the colours available in sea waves is very important because it triggers the idea and gives inspiration in creating works of art. As noted in The Pantone Book of Color (Eiseman & Herbert, 1990): “color can… identify and specify necessary objects for survival and/or enjoyment; stimulate and work synergistically with all the senses; mark territory and manage personal space; symbolize abstract concepts and thoughts; recall another time or space; create illusions and ambience; emphasize or camouflage figures or objects; enhance self-image and personal esteem; produce an aesthetic response. Most important, the use and arrangement of color enables us to create beauty and harmony and express our personal taste, and by doing so, provides us with a sense of accomplishment.” The colours of the sea, driven by the movement of the waves as well as its diverse character makes it interpreted with diverse context and emotionally affecting us. This makes the waves have a subjective and distinctive meaning depending on the assessment, approaches, and our personal perspective on it. 22 2.3.2 Line in Sea Wave Line is considered by most to be the most basic element of art. In terms of art, line is considered to be a moving dot. It has an endless number of uses in the creation of art. Line can control viewer's eye, describe edges, and indicate form as well as movement (Fussell, n.d). If observed from the perspective of art, one of the most interesting elements we can find in the sea waves is the line. There are various types of interesting lines that we can observe from different types of waves with different situations and weather. However, the nature of the seawater is not constant and it is always moving, therefore the lines that existed on the waves are difficult to observe at a glance. With the help of today's technology, sea wave observations can be carried out in more detail and closer using digital resources such as pictures and videos as in this study. But undeniably, artists who have been synonymous with wave and seascape paintings can accurately identify the properties and lines of waves due to years of observations and research on this subject. The wave at the beginning of its formation is composed of fine lines resulting from the light winds at the ocean surface. This line is clearly visible in small and calm waves. As an example, the capillary waves and ripples. The lines seen from these types of waves are usually curved straight lines and these waves are usually formed early in the morning when the sea is still calm or when the wind blowing slowly. Depending on the wind direction, we can see the interesting outlines of capillary waves that are varied because it is always changing. Figure 17: The diversity of lines on capillary waves. Photo by Rohlin (2015). 23 Closer to the shore, the lines in sea waves are increasing and varies as the waves start to curl upward and crashing on the shore. Coupled with the wind factor and the distance to the beach, to some extent affect the existing lines in waves and making it uneven and overlapping each other. On the plunging waves, it can be observed that on the rolls of wave, seconds before it crashed, are composed of small and subtle lines curved along the waves. Figure 18: The lines formed on the curve of the plunging wave before it collapsed. Photo by Dixon (2013). Figure 19: The lines that appear on the waves as it crashed the shore (Evan Slater, 2012). In addition, coastal sea waves that are seen from a greater distance, for example, on a hill near the coast or through images taken with bird's eye point of view, also give very 24 interesting lines of waves. For example, wave trains that came pounding towards the coast at this point of view showed variation of lines that sometimes scattered but somehow attract attention because of its unbalanced yet harmonious structure. The waves in this view also show an interesting connection between the sea and the shore. Figure 20: Seashore from bird’s eye point of view. Photo by Pexels (2016). Figure 21: Sea waves view from the hill nearby shore (Evan Slater, 2012). It should also be emphasized here, perhaps from the observation of the lines on these waves which actually give the idea of early sketches that refer to the sea waves. For example, as can be seen in Ha Bun Shu a Japanese Book of Wave and Ripple Designs by Mori Yuzan (1919), which featured hundreds of waves sketches depicted in the form of fine lines. Overall, the lines in these sea waves are among the most important aspects of this study that can be absorbed to the production of ceramic art with stylization concept. 25 2.3.3 Sea Wave Texture Texture is an important element to be highlighted in the works inspired by the sea waves. This is because of its diversity and uniqueness of texture. Texture refers to the way an object feels to the touch or looks as it may feel if it were touched (Fussell, n.d). Most objects have an appearance that clearly illustrates their texture and gives a sense of feels that corresponds to our initial perceptions if it is touched. However, for sea waves or generally the water, this thing is slightly different. This is because the waves that look rough and violent in our view actually are not felt rough at all when touched because the water itself is indeed soft. However, the texture that appears on the wave actually represents the condition and behaviour of the wave at that particular moment. The calm waves have a soft-looking texture and reflect the tranquillity while a violent storm waves or tsunamis have a rough texture that basically looks rugged and have destructive power and deadly forces. Figures below show the texture and nature differences that represent the waves. Figure 22 shows a capillary wave with a soft texture while Figure 23 shows a stormy wave with a rough-looking texture. Both of these waves, through their textures, reflect its actual nature and behaviour. Figure 22: Capillary wave with a soft texture. Photo by Verstuyft (2017). 26 Figure 23: Stormy wave with a rough-looking texture. Image by NOAA (1989). Therefore, the texture of sea waves is important in the production of artistic works, especially ceramics to convey the meaning through the characters of these waves by emphasizing the texture to the final artwork. 2.3.4 Form and Shape of Sea Wave Actually, there is no specific shape for waves, unlike many of the other natural objects. The waves are basically water, and water does not have its own distinct and constant shape. The variety of shapes we see on the waves is actually the result of external factors that generated them and its mainly started by the wind. The result of the observation as well as how we interpret the shape of the waves leads to the representation and depiction of the sea waves through drawings, sketches and so on. For artists, deep and detailed observation is necessary to get the accuracy of the representation of sea wave into the form of artworks. A shape is one of the seven elements of art. When defining it within the study of art, shape is an enclosed space. Its boundaries are defined by other elements of art such as lines, values, colours, and textures (Esaak, 2017). Meanwhile, according to Marder (2017), Shape is defined by the outer contour of an object, which is how we first perceive it and begin to make sense of it, but light, value, and shadow help to give an object form and context in space so that we can fully identify it. Therefore, identifying the shape of the wave is not an easy task because it is closely related to other elements as expressed by both Esaak and Marder. So in the 27 context of this study which emphasizes the concept of wave stylization, it is very important to identify the form and shape of the waves with good accuracy so that the result of the wave stylization for the final artworks will still be parallel and retains the overall shape of the waves. Figures below shows a series of waves in two-dimensional shape. These illustrations show how the shape of the wave is generally interpreted and most of us indirectly already understood and even accepts that these are the shapes of sea waves. Figure 24: Sea wave shape. Illustration by Clker Free Vector Images (2014). Figure 25: Sea wave shape. Illustration by Clker Free Vector Images (2013). Figure 26: Sea wave shape. Illustration by Clker Free Vector Images (2014). 28 2.3.5 The Power, Strength, and Violence of Sea Wave When we think of violence and brutality of waves, the first thing that comes to our minds is the destructive giant waves, namely tsunamis. This demonstrates how terrible the power, strength and violence caused by this giant wave. A tsunami is a formed by an unsettling influence that uproots an enormous volume of water, similar to a landslide or an earthquake, and they regularly emerge in groups or units. Tsunami waves are able to destruct coastline networks with a big wave that occasionally outperform 20 meters of heights. Since 1850, tsunamis have caused more than 420,000 deaths: and in 2014, Indonesia, more than 230,000 people were killed by the giant earthquake, and the damage caused to the Fukushima nuclear reactor in Japan by a tsunami in 2011 continues to wreak havoc (Fairclough, 2017). However, tsunami waves are not the only giant wave that brought destruction. ‘Rogue waves,' which can form during storms is one of them. There are reports of 112ft (34m) and 70ft (21m) wave it and can be extremely unpredictable. To sailors, they look like walls of water. No one knows for sure what causes a rogue wave to appear, but some scientists think that they tend to form when different ocean swells reinforce one another (Fairclough, 2017). These are the types of waves that usually cause destruction and sunk of most of the ships, especially small fishing boats. The power of this waves is very powerful and has caused many people to die in the oceans. Although it is very heartbreaking to see the devastation and destruction caused by the power and violence of these waves. However, from the perspective of art, the story behind this wave has the potential as a subject or theme to be translated into the form of artwork with a purpose as a reminder about the power of nature and also as a way to retelling the history and events related to these destructive waves in the context of art. In this study, the use of violent wave character, with powerful power can be something unique to apply to the ceramic medium. This is because the background and history of this wave should be highlighted and given attention to be presented to the public. 29 Figure 27: A ship washed ashore during the 2011 Japan tsunami lies amidst wreckage in Kesennuma, Miyagi, Japan. Photo by Sankei (2011). Figure 28: A ship struggle against the rogue waves. Image by Lund (n.d.). 2.4 WATER, SEA, AND ART Water has always been a subject of works of art. Since prehistoric times, humans depicted water as a wavy line, a stylized image that is easily recognizable and comprehensible. In ancient art, water was often represented by stylized curvilinear forms, such as the spiral (as evidenced by the Minoans of Crete) or a horizontal zigzag as found in the art of ancient Egypt (Water Encyclopedia, n.d.). From ancient times, for most cultures and civilizations around the world, water has turned into a persisting theme of arts. The water mentioned here includes the sea, oceans, rivers and lakes. 30 Seas, lakes, and rivers were once the great highways of the world, and water mostly is shown in art as daily life scenery (Water Encyclopedia, n.d.). The influence of water as a whole plays an important role in art and encompasses a very broad meaning throughout poetry, literature, fine art, theatre, film, and music. The arts may be aesthetically attractive, enduring, or threatening in themselves. Water, as an example the sea, possibly a metaphor for violence and death, beginning and rebirth, spiritual adventure, self-discovery, change, metamorphosis, renewal, and inspiration. 2.4.1 Sea as Inspiration for Art Based on the many works of art inspired by the sea, it is undeniable that the sea and humans have a very close and special relationship ever since. Basically, the reason why people make art and why people choose a particular subject as artistic inspiration lead to the same answer, that is because of its beauty. Throughout history, much artwork was made for no other explicit purpose than the production of beauty. An artwork is to be beheld and admired. It is breathtaking and can even make us emotional. It is this beauty that draws the first connection between nature and art (Lents, 2017). This is the sole expectation and question of a lot of (the greater part of) artworks: to show those individuals who have not possessed the capacity to experience beauty in reality, the chance to familiarize themselves with it in any event to some degree. Furthermore, to serve as a reminder, to set off and revive memories of beauty in reality within the minds of those people who are acquainted with it through experience and love to recall it. Obviously, beauty and art are closely related and explains why the sea inspires art. As an example, the sea is beautiful and looking at it, we never think of being aesthetically dissatisfied with it. But not every person lives close to the sea and most of them never get an opportunity to see it. Therefore, they really want to experience it, and so the seascapes interest and satisfied them. Without a doubt, it would be much desirable to observe the sea itself instead of its paintings or images. However, when something desirable is inaccessible, one will be happy with something that resembles it though imperfect. Even the individuals who can appreciate the real sea cannot do as such when they wish to, thus they call up memories of it. But sometimes our imagination is weak and it requires support to trigger something. So to revive our memories of the sea, to see it more vividly in our imagination, we look at seascapes arts or pictures. 31 Although most of the works inspired by the sea are to capture the beauty in it, however, there are many other elements that influence and make the sea an inspiration in arts. For example, to commemorate people or important events. Most of the sea-inspired works are reminiscent of the past that involves emotions. Events that have taken place involving waves such as tsunami waves that claimed thousands of lives and bring destruction is a clear example of which event like this became an inspiration for the creation of artworks. In this context, the emotion of sadness, heartbreak and the power of nature is highlighted in the form of art. In addition, the sea is also an inspiration in many works whose main purpose is to express thoughts and personal feelings. Emotions and human feelings can be regarded as a vast sea with so many nature and characteristics, and all these emotions and feelings tried to be expressed and highlighted through artworks which using the sea as a medium. Most of the artist approach the sea in unique and personal ways and each artist brings a different and fascinating insight into the subject of the sea. The sea allows an artist to appreciate the area’s unique seacoast, skies, natural habitats and beauty with fresh eyes on each excursion. From stormy seas to tranquil sunny bays and busy harbours to shipwrecks, the beauty, drama and ever-changing nature of seas have long attracted the attention of artists and arts practitioners from various fields. Like the sea itself, the inspiration of arts is not permanent, but flowing and continually developing and reacting to what we feel and experience. The arts are an ideal means by which humans communicate, understand, explore, and challenge their ethics, values, and culture. And for the sea, it continuously inspires us and makes us feel connected to something. It also can strike an emotional nerve that leaves an impact on us that is not soon forgotten. The response of art toward the sea may have social, ecological, political, or philosophical implications depends upon how individuals and societies, define it. 2.4.2 Sea Waves Inspired Artworks Over the years, many artists around the world choose the waves as their inspiration in making the artworks. Wave has its own unique characteristics, which influence artists to produce artworks that relate to it. Most of the artists chose waves as the subject to produce artworks because of the waves itself that are very interesting and has the 32 potential to be applied to various forms of artwork. This makes many artists, using waves as their artistic reference and also to conveying messages in their artwork. In addition, some artists prefer making art inspired by waves because of their personal background that is strongly related to the sea and waves. Some of the works produced inspired by sea waves are very prominent and have a great impact on the art world. The work that has been produced also proves that the waves of the sea have really gained the attention of great artists. Furthermore, the continuing acceptance and popularity enjoyed by these artworks confirm that humans and the waves certainly have significant relationships. Parallel with this study, which emphasizes the sea waves character reflections on art, here are some of the most important work has been produced, inspired by the sea and waves: Figure 29: Katsushika Hokusai, The Great Wave off Kanagawa, 1829–32, Color Woodcut. Photo by Wikimedia (n.d.). The Great Wave off Kanagawa, a 19th-century woodcut by Japanese artist Hokusai, it is published sometime between 1829 and 1832. It is one of the best-recognized works and probably the most famous image in Japanese art in the world. It depicts an enormous wave threatening oshiokuri-bune, or cargo boats off the coast of the prefecture of Kanagawa. The wave itself, usually visible on digital printing products such as t-shirts, textbooks, and wallpapers, is frequently described as a tsunami, despite the fact that the scientists proposed that Hokusai’s masterpiece are more likely depicts a rogue wave called a plunging breaker. http://en.wikipedia.org/wiki/Hokusai http://en.wikipedia.org/wiki/Wind_wave 33 The focus of this art is without a doubt the crest of that wave breaks. At first glance, it is quite difficult to even recognise the mountain or the boats. To begin with, it seems like just an image of the open sea with a tsunami. However, with a more intensive observation, one will notice the fisherman, the boats and the mount Fuji. The wave formed a frame through which we see Mount Fuji within the distance. Hokusai loved to reveal water in motion. It can be seen that the foam of the wave is breaking into claws that bear down over the fishermen. The massive wave contrasts with the empty space underneath it as tiny fishermen huddled in their boats. They are sliding around within the waves, being tossed and turned, against the dangerous water. The approaching crash of the wave brings tension into the woodcut. The wave is bigger than the mountain, signifying its importance. Within the foreground, there’s a small peaked wave that imitates Mount Fuji. The actual Mount Fuji is very big, however, its look much smaller through Hokusai’s use of perspective. The actual mountain stands over 12,000 feet high. Figure 30: Gustave Courbet, The Wave, 1869, Oil on Canvas. Photo by Anders (n.d.). The figure above shows sea wave painting by French artist Courbet. The painting titled The Wave is considered by some as timeless work of art. We see only clouds and sea, with no trace of human life. During the summer of 1869, Courbet stayed at Etretat, in a little fishing village in Normandy. Here, the chalk cliffs, the subtle light, along with both the violent storms and the calm of the waves in this region of changing skies, offered Courbet new subjects. For this artwork, he offers an intense vision of the stormy sea, tormented and disturbing, with all the savage power of natural forces at work. This work, together with dozens of paintings in the same “sea and waves” series, caused quite a sensation around the world. 34 Figure 31: Claude Monet, Stormy Sea in Etretat, 1883, Oil on Canvas. Photo by Bridgeman Images (n.d.). The Stormy Sea in Etretat is an 1883 painting by the founder of French impressionist Claude Monet. Amongst all the impressionist painters, Claude Monet was the one who was most attracted to the changing atmosphere of seascapes. This view, as seen through a hotel room window, is that of the beach at Etretat, which Monet painted as a series. This painting depicts a stormy sea on a winter day. The painting is composed of four major elements, each painted in a different way. The central part shows the rough waves painted in forms of commas. In the foreground, a small beach on which there are old boats covered with leaves roof on the left, and two fishermen with their boats in poor condition on the shore. On the left, in the background, the cliff of Etretat can be seen and the rock strata are evoked by horizontal lines of brush. Finally, the upper part of the painting shows the sky, painted in a way that expressed curtain of rain. All the artworks inspired by the sea waves is an example that it certainly has an interesting character and background to be chosen as a subject of arts. All of the works mentioned above are produced with a different perspective either in terms of the meaning nor the implied issues that the artist wishes to convey. What can be concluded here is that the sea and waves can be a good subject to be featured in the work of art. In addition, it can also be used as a medium for conveying messages as waves-inspired artworks are much appreciated and accepted especially by art enthusiasts. 35 2.5 SEA WAVES AS INSPIRATION FOR CERAMIC ART Many artists usually use nature as their sole inspiration in making art, and this also includes ceramic artist. For some ceramics artists, at certain levels and stages of their involvement in ceramic art, have made the waves their inspiration. The reason why they produce this work is driven by past events or their personal experiences. Although the wave-inspired ceramic art is still considered to be minimal and lack of proper exposure, but some ceramics artists have been identified to produce works inspired by the waves. In addition, although most of them are no longer making wave-inspired ceramic work, the existing artworks produced by this identified artists is something that is very valuable and becomes an important reference for this study. 2.5.1 Ceramic Artworks Inspired by Sea Waves Ceramic artist from the USA, Denise Romecki use waves as a subject in producing sculpture art and making nature as inspiration. She stated that the mystery and beauty of nature is the inspirational force behind his work. Her artwork has always been inspired by the natural world of forests, plants, rocks, oceans, and animals. She believes that all natural things have a spirit that deserves honour and respect. As stated by Romecki (2015), “My ocean wave sculptures have travelled to many places reminding people of their special experience at the shore. Celebrating the power and beauty of the ocean is an on-going theme in my ceramic work. It can be a graceful dance or an exploding crash of energy. And then there is also the healing energy one feels by simply sitting and watching the endless rhythmic swell of the surf”. Figure 32: Denise Romecki, Reflection. (n.d), Ceramic. Deniseromecki.com (n.d.). 36 Japanese ceramic artist, Masaaki Shibata, uses the tsunami wave, a huge wave of destruction as an inspiration for his ceramic work. Shibata throughout his involvement in ceramic art, better known in producing large-scale ceramics. Most of his work is considered a public sculpture and is widely exhibited in public places around Tokoname, Japan. After the event of Japan earthquake and tsunami in 2011, also called Great Sendai Earthquake or Great Tohoku Earthquake, severe natural disaster that occurred in northeastern Japan, Shibata was inspired to create a ceramic artwork to tells the story of tsunami. The tsunami has caused widespread damage to land and devastated many coastal areas of the country, most notably in the Tohoku region (northeastern Honshu). He observed these waves and then translated it into the production of ceramic sculpture. Element and characteristic of the tsunami waves generated are applied to his Tsunami Series that reflects the strength of this powerful and destructive waves. Figure 33: Denise Romecki, Oceanwave, (n.d), Ceramic. Deniseromecki.com (n.d.). Figure 34: Denise Romecki, Powercurl, (n.d), Ceramic. Deniseromecki.com (n.d.). 37 Additionally, another ceramic artist famous with spiral porcelain ceramic sculpture, Jennifer McCurdy also uses waves as an inspiration. In one of her artwork, Wave Vessel, she experimented with cutting away approximately 50% of the porcelain without compromising the object's structural integrity. This is to enable the piece to highlight the motion effect of the waves in her work. In the delicate carved forms of Wave Vessel, McCurdy suggests the troughs and crests of a wave as well as its undulating, rhythmic motion. This sense of motion is also reflected in the spiralling curves, the web-like shadows, and the translucency of the porcelain that seem to change as one circle the piece. The final work is a contradiction, with the impermanent waves frozen in a rock hard, permanent material. Figure 37: Jennifer McCurdy, Wave Vessel, 2007, Porcelain. Photo by Mirando (n.d.). Figure 35: Masaaki Shibata, Tsunami Series, 2012, Ceramic. (Shibata, 2012). Figure 36: Masaaki Shibata, Tsunami Series, 2012, Ceramic. (Shibata, 2012). 38 Figure 38: Jennifer McCurdy, Tsunami Vessel, 2016, Porcelain. (Mirando, n.d.) Apart from ceramics sculpture works, there are also ceramics artists who use different approached compared to others wave-inspired artist by applying wave element in tableware and functional ceramics. As an example, Richard Baxter, a well-known British potter that produced wave-inspired functional ceramics. All of his works regarded as highly individual and collectable ceramic art. From stylishly functional domestic earthenware pottery to beautifully fluid porcelain bowls and unique ceramic design inspired by waves. Also impressed with other elements of nature, Baxter develops ceramic artwork in a number of fascinating areas. Some are practical and durable for day to day living, whilst other works are on-off unique pieces. One of the focal points of his arts is application of interesting glaze colour. Baxter also exhibits effective sea wave stylization with attractive texture. Figure 39: Richard Baxter, Rolling Wave, (n.d.), Earthenware. (Baxter, n.d.). Figure 40: Richard Baxter, Small Pool, (n.d.), Earthenware. (Baxter, n.d.). 39 Other than that, another ceramic artist from the USA, Bonnie Belt also applied sea wave elements into functional ceramics artwork. She stated, “The natural world and respect for nature is the primary focus of my life and art”. More interesting, the “wave” pieces produced by her are inspired by the Japanese master of woodcut prints, Hokusai, especially his Mount Fuji wave print. The waves show not only the power of nature but also its graceful beauty. The result is very interesting and has its own aesthetic value. Figure 41: Bonnie Belt, Wave Rim Teapot, (n.d.), Ceramic. (Belt, n.d.). Figure 42: Bonnie Belt, Oval Wave Bowl, (n.d.), Ceramic. (Belt, n.d.). All of these artists have produced a very impressive and unique wave-inspired artwork. The combination of waves, the influence of other elements of nature, and the touch of personal experiences from artists has led to meaningful artworks. Successful application of sea wave, as can be seen on these existing artworks shows that elements and characteristics of sea waves are absolutely suitable to be applied onto ceramic medium. 40 2.6 ART FORM Producing ceramic art form inspired by sea waves is the main goal of this research. The selection of art form as a concept is an effort to ensure that the elements and character reflections of sea wave can be delivered effectively to the audience. According to The American Heritage Dictionary (2011), art form is an activity or a piece of artistic work that can be regarded as a medium of artistic expression. While, Collins Dictionary (n.d) defines that art form, is something concerned with creating objects, works, or performances that are beautiful or have a serious meaning. In other words, an art form is a specific shape, or quality an artistic expression takes. And the media used for making artwork often influence the form. Additionally, form is the physical manifestation or tangible evidence of the artist idea. It includes the materials used, the process, and the artistic stylization or design. Literally, form refers to "how" the artist manifested his idea. When used in tandem with the word art as in art form, it can also mean a medium of artistic expression recognized as fine art or an unconventional medium done so well, adroitly, or creatively as to elevate it to the level of a fine art (Marder, 2017). Form is very synonymous with sculpture, due to the fact it is a three-dimensional art and has primarily consisted of form, then followed by colour and texture as well as respond to gravity. Three-dimensional forms can be seen from more than one side. Traditionally, forms could be viewed from all sides, called sculpture in-the-round, or in relief, those in which the sculpted elements remain attached to a solid background, including bas-relief, haut-relief, and sunken- relief (Marder, 2017). The figure below shows an example of ceramic art form: Figure 43: Helene Fielder, Ocean Wave, 2012, Ceramic. (Fielder, n.d.). 41 2.7 STYLIZATION IN ART 2.7.1 Introduction of Stylize Stylize is a very familiar technique in art and it’s been around for a very, very long time. The depiction of images in ancient times is mostly in the form of stylization. In the process of art development, especially in folk art and crafts, there is so many application of nature motifs that have been stylized, for example in wood carvings, textiles and traditional costumes. Definition of stylization according to Merriam-Webster (n.d.), is to conform to a conventional style; specifically, to represent or design according to a style or stylistic pattern rather than according to nature or tradition. Whereas, the Collins Dictionary (n.d.), defines stylize as something that is shown or done in a way that is not natural in order to create an artistic effect. From a different point of view, stylization is considered as a step away from realism, which is characterized as a full and direct imitation of reality. Instead of trying to depict a subject in a way that duplicates reality, an artist can use stylization technique to make work of art which still maintaining the subject and the form that can be recognized, while emphasizes on simplification of form, line, and connections of colour and space. If something is stylized it means, it's represented in a non-naturalistic conventional form. Which, using artistic forms to create effects that is not natural. Stylized gives the artist the ability to move and change the subject to something more or more depending on the creativity of the artist. 2.7.2 History of Stylize Art Stylization is something that can be traced back as far back as ancient cave paintings. Most of the recognizable subjects are visually displayed in simplified ways. It cannot be denied that this relates with the fact that humanity was discovering the visual arts and experienced a learning process in order to create a more accurate imitation of reality in drawing, painting, and sculpture. With the passage of time, most artists are getting proficient in the producing of art that imitates reality, and stylization techniques are becoming forgotten and ignored. We can see from the height of the Renaissance through the 19th century that artists took a great joy in creating highly realistic images and exploring the very accurate representation of architecture, human anatomy, natural plant life, etc (Principle Gallery, 2017). However, the state of the art that often changes over time has brought a focus back to experimentation with colours and light, thus 42 began to slowly withdraw a strict imitation in art. This has encouraged the interest of renewing the stylization technique, which uses the image of recognizable subjects and simplifications in using colour, line, and form have been through the revival process. 2.8 STYLIZATION PROCESS All stylization works are based on observed reality. For example, a natural gesture or motion of a subject, or a character trait and appearance of anything physical world which has a specific physical manifestation. Then, that particular pattern is developed to make it clearer and more distinct. At this moment, the shape becomes more defined, the rhythm pattern stronger, the spatial relationship clearer. Then, it comes to the key step which often gets missed out, which is eliminating everything else. Generally speaking, stylization involves removing distractions as well as enlarging the chosen forms. It is also important to note that one of the fundamental properties of visual art is the degree to which it is realistic or stylized. Art that resembles nothing in the physical world is called abstract, and art that involving full imitation of a subject is realistic art, while art that portrays something recognizable although simplified, is called stylized. The less a work of art resembles something in the physical world, the more stylized it is (Realism vs. Stylization, 2017). Figure 44: Stylization process of a bird. Illustration by Danijel Stamenic (2015). The figure above shows an example of a stylization process on the image of a bird by Stamenic. This process is summarized into six simple steps that give an idea of how the stylization process takes place. 43 2.9 STYLIZATION OF SEA WAVES Sea waves have always been an inspiration to the various types of works that have been produced since ancient times. However, the production of art with the application of stylized wave from the past can be considered very limited, or it may not be