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Lesson Plans


Re: drawing realistically

[ Thread ][ Subject ][ Author ][ Date ]
Robert Alexander Fromme (rfromme)
Fri, 11 Jul 1997 00:22:30 -0500


At 10:42 PM 7/10/97 GMT, Rosa Juliusdottir wrote:
snip...snip.....parts deleted......

>And finally I do not understand this comment. And I certainly don=B4t know
>what has been taught in american schools for the past 40 yrs. So could
>someone explain, please.
>
>>>No wonder, "critical" drawing has not been taught in public
>>>schools for past 40 yrs. If your students like "Bevis
>>>and Butthead", don't teach them to
>>>draw effectively - it will spoil them for more of
>>>the same.
>

Like you, Rosa (and probably others), I am also confused by the statement.
Let's hope Robert Beeching will explain it a little better for us. Mr.
Beeching's comments have been quite informative in the past.=20

Although I am confused by the comment, it has caused me to think a little
more about drawing and teaching drawing. Like you and many others on the
list, I too value realistic drawing as an important part of a young
artist's education. In years past, I have taught drawing classes to
college students and more recently to teens. I also continue to draw as part
of my own creative work. Drawing functions in three areas of the creative
process for me.

1. On one level, drawing is used to help in the learning and thinking
process as a tool for discovery, research, and study. When I draw in this
mode I do not intend for the physical object, the drawing, to be exhibited
as a work of art or to serve in support of a particular work in process. In
this mode, I am not thinking about making a drawing as art or making a
drawing to help me create art in another medium. Yet, there is a freedom
and honest questioning with this kind of drawing and the experience is quite
valuable even though the thing that is created is not particularly of value.
On the other hand, lacking any original intent, this kind of drawing often
moves me toward more understanding, valuable ideas and potential future
drawing projects or toward works in other media.=20

2. On another level, drawing serves as a means to an end as a focused study
for a sculpture, digital project, traditional painting, or clay object. In
this mode, the drawing may range from an examination of a natural object
important to a project which will come together later. Here, drawing is a
step in a direction or a way to discover some of the pieces in the puzzle.
In addition, there are so many alternative paths which open while forming in
visual art media that one can never take each possibility to its logical
end. Frequently a few simple drawings can capture enough of the potential
or limitations of an alternative direction. This type of drawing can save
time, expense and help to deepen and focus direction as one works. Yet, as
in the first mode, these drawings are not intended to be Art.=20

3. The third level of drawing is intended to be drawing as Art. With this
mode, there is a new intensity to the experience of drawing. There are also
increased expectations for the product. . Here the form and content can be
quite varied and the project can range from intense nature study to
directions quite removed from representational intent. Here, an idea, a
discovery, a point of view, an attitude, the nature of the drawing media,
issues of color, texture, or value may (or may not) find priority in the
mix. In this final mode, drawing is an end in itself.

Now, after trying to explain how I use drawing and how I try to teach my
students to use drawing media, I am still at a loss when I read Robert
Beeching's use of the term "critical" in relation to drawing. Having
admitted to being confused, I look forward to learning from his explanation
of "critical" drawing.

Bob Fromme=20