由設計師 Mohamadali Vadood 創作嘅 Forest Heart 木畫係備受推崇嘅 2020 A' Design Award 鐵獎得獎作品，獲獎類別為美術設計。

鐵美術· 2020

Forest Heart 木畫

由 Mohamadali Vadood

客戶: Gerdayesh

美術類別嘅 A' Design Award 鐵獎得獎者

16,991

經驗證嘅獲獎者

驗證設計 #86837 嘅獲獎狀態

訪問網站喺 A' Design Award 查看新聞稿獎項徽章

色彩

設計

關於 Forest Heart 木畫

森林之心在納克什班迪（Naqshbandi）是一個類似項目的作品，一種鑲嵌工藝，據說是這種木雕藝術歷史上新時期的實現。最初，它描繪的是鳥的身影，其身體的每一部分都來自林木。然而，值得注意的一點是，不僅保留了木材的原始顏色（通常在所有鑲嵌工藝中都完成了），而且還節省了圖案，淡淡的陰影波和紋理。每件作品都有一個驚人的發現世界，即使是放大鏡也是如此，因此觀賞者可以發現樹林的自然景象。

榮譽認可

關於A' Design Award 鐵獎

Forest Heart 木畫是 A' Design Award 鐵獎得主，這是授予滿足人們對設計精良的創作所期待的專業與工業要求的優良設計的聲望認可。鐵獎得主展現出其創作者的高超技藝、高度專業化、專家級的理解力和創造能力。預計Forest Heart 木畫將成為一件備受推崇、令人欽佩且被珍愛的創作，既實用又創新。這件贏得 A' Design Award 鐵獎的設計整合了行業最佳實踐，並擁有與專業知識和才華相結合的稱職技術特性。Forest Heart 木畫因其嚴謹而受到尊重，旨在提供有助於讓世界變得更美好的生活品質改善。

設計背後

新聞資料包

由設計師提供嘅製作人員名單、團隊成員同技術詳情。

獨特屬性: This art project tries to fulfill three intended purposes:
1. Taking a fresh look at wood to explore a new perception in it and to harmonize with its pure nature as well, so we can come up with original ideas to create real art.
2. Applying an innovative technique in working with wood and also in using common tools so we could achieve adequate quality in our performance.
3. Discovering, creating and defining new ways to gain desired images by tracing natural patterns in pieces of wood and making a synthesis between them.
尺寸同包裝: The size is 35 in 60 cm.
The thickness of wood sheets were 4 mm.
The number of pieces are 47.
The weight is 700 gr.
All the colours and shades are chosen carefully to seize the natural fortuities in the woods.
標籤: naqshbandi, wood pattern tracing, marquetry, wood pattern, double cut, wood texture, wood cut, coping saw, wood character, wood art
生產技術: Defining a geometrical table based on cutting angles plus a method of cutting for even 1 mm pieces, and trying to have desired wood patterns and spots by restoring in perfect conditions like natural moisture percentage, etc. to benefit from bacteria activity were the main production phases.
The types of wood, they were haloxylon for the body and the head, barberry for the tail, fig for the feet, tree of heaven for the nose and the leaves, acer monspessulanum (keykom) for the leaves again, jujube for the beak, European ash for the background and wenge for the margin.
The tools were coping saw, plane, sanding paper, nail and hammer.
設計挑戰: Defining geometrical patterns of cuts so that pieces of wood could save their original patterns, overcoming the thickness of cutline without using primer, and coming up with the idea of what I call Double-cut at the time of sanding to prevent the destruction of sub-patterns and sub-textures and save the main image are the parts of this work that ended up being its challenges.
研究: Naqshbandi is a new method or attitude which is used to create this piece and aims to benefit from connecting lines, expanding textures from one piece to another, and deciding upon the true light shade, not just the colour contrast and various tonalities as it is usual in other works of marquetry. It requires the artist to make a full-hearted attempt to harmonize themselves with the nature of wood as much as possible, and help them grow a clear perception of their work and gain a direct inspiration from natural fortuities given by wood. So, the whole thing will finally sound the art of nature in the eye of beholder.
靈感: Natural wood structure, consisting of a variety of colours, illusory lines, special texture and darkened and bright spots with special makeup during the growth of the tree, can broaden any individuals' horizon in many impossible to imagine ways. The cutting angle of the wood makes these motifs look even more varied on the surface of a piece, cut from the main wood. With this discovery of what the cutting angle leads to what l am thinking of, l came up with this idea that I would find a base for this to control the patterns, lines and colors of the wood to create an originally incredible image based on the nature of wood and not manual changes.
項目時長: This work was created, in Tehran, started and finished in 2010, and to find appropriate woods they were provided from different places.
It took 6 months to accomplish the project as it turned out to be time-consuming to find desired wood pieces.
操作流程: In this project-like work of art you can see a specific way of working with wood using the fewest pieces and mainly benefiting from the natural colour and also texture of the wood so you can build up a perfectly complete image, which actually cannot be repeated or copied as patterns in each piece are naturlly unique. Thus, it can be artistically used as a piece of decoration, specifically in wood-based decorated spaces on the wall or a shelf.
As for the transformation, it could be carried in a box of the same size and as it deos not weigh that much or take up much space, it does not matter a special transport.
團隊成員: the artist and the founding father of the method: Mohammad-ali Vadood