For an upside down drawing, the subject matter and the
student's work should stay upside down. The whole
point of the exercise is to trick your brain into
looking at shape and line. You should not be
concerned with identity of the person in the photo
because you are just working with basic elements of
--- david gran <email@example.com> wrote:
> > But is this any different than setting up a
> > still-life and having them draw
> > that?
> Well sure- the students are not likely to have
> feelings about the still life which will affect
> attidude about it. Likely they will be more detached
> and not let the focus on technique be clouded by an
> emotional attachment to what they're concentrating
> drawing (not that emotional attachments to subject
> matter is bad, just that it might be confusing for
> them at an introductory level - especially if the
> association is negative).
> > I need something explained to me while we're on
> > subject - with the
> > current stress being on creativity vs. technique.
> > How does everyone allow
> > creativity when trying to teach technique?
> I teach video art so its a little different for me,
> but I always do mini-lessons in which the students
> have to follow precise steps so that they know what
> the programs do and how to do them. Then once the
> project begins, I give them a certain set of
> parameters (a dream, a memory, for example) , but
> are free to incorporate their learned technical
> through their own choices.
> http://carrotrevolution.blogspot.com/ >
> The day is coming when an ordinary carrot, freshly
> observed, will set off a revolution.
> -Paul Cezanne
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