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Among other things on 11 Jul, Bob Fromme wrote: > 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.
>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.
>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.