Discuss the stories told in FIGURES 4a and 4b by comparing the following: - Format - Focal point - Line and texture - Depth and perspective - Style FIGURE 4a: Lucky Sibiya, Warrior, woodcut, 1977 - NSC Visual Arts - Question 4 - 2021 - Paper 1

In FIGURE 4a, the focal point is the large figure with outstretched arms, prominently occupying the foreground and making it evident that this figure is central to the narrative. In FIGURE 4b, the focus shifts to the preacher, who is baptising the person at the bottom of the scene, providing a direct visual connection to the act itself and inviting viewers to engage with the solemnity of the moment.

FIGURE 4a features curvilinear lines that create movement, particularly in the depiction of the huts and the landscape, enhancing the sense of life within the scene. The textures from the figures' clothing also add depth, guiding the viewer's gaze. In FIGURE 4b, horizontal and vertical lines create a rhythmic flow that leads the viewer's eye through the baptism scene, including the dynamic interplay of patterns on the figures’ attire, further enriching the visual storytelling.

Depth and perspective in FIGURE 4a are achieved through the positioning of the larger figure in the foreground against receding smaller figures in the background. This layering effect creates a sense of space and depth. Similarly, FIGURE 4b employs overlapping figures to suggest perspective, with the preacher prominently placed in the foreground, further enhancing the viewer's focus on the baptism event.

The style of FIGURE 4a showcases deliberate distortion and exaggeration, particularly in the portrayal of figures and cattle, emphasizing Sibiya's expressive interpretation of the narrative. FIGURE 4b, on the other hand, reflects Mahlangu's intention to depict the community with expressive realism, using a style that conveys both solemnity and joy, effectively reflecting the spiritual significance of the baptism.