Note: To protect the privacy of our members, e-mail addresses have been removed from the archived messages. As a result, some links may be broken.
Apparently "Art" sleeps around. It's been married to religion, politics, =
technology, ecology, science, mathematics, theory, culture, identity, =
psychology, advertising and the absurd Oh and who knows how many =
others. Every decade brings greater disasters from some P.O.V.s
Functional Fixedness! Great model. If you can "install" it in a student =
its a potential first step. It may be easier to get around the fear of =
taking risks when there has been some previous and solid success. They =
can't argue too effectively that they have no skill or talent in art =
after that. Not the only way. Certainly not the "best" way? but a useful =
option for the toolbox.
I like to start with isometric images and overlapping. The majority are =
already geared to the notion of rules and steps. Isometric is easy to =
define in those terms:
Lines go in only a few directions. 1] vertical/perpendicular, 2] angle =
to the left, 3] angle to the right.=20
Every corner has one of each.=20
Then we can distinguish between how objects appear different by =
comparison in photographs and in frieze-type 2D drawings. We can talk =
about WHEN and WHERE (in what context) we would like to use each form.
We can play with photographs and with focus and maybe come to understand =
"depth of field" and consider how that could be applied in a drawing or =
painting. We can identify relative "vanishing points" in a photograph =
and explore how that knowledge could be adopted.
Later we can talk about the limitations of representation which depends =
on perspective and the choices made by other cultures in their forms of =
representation. Denoting importance with size, needing to include all =
the known parts which define the object to achieve another understanding =
of "realistic." the use of symbols, conventions, and the abstract to =
extend this alternative form of "realism" beyond "only that which can be =
We can collage photographs to model these alternatives and ask what =
works and what doesn't for each of us.
Later still we can return to the Icon and try to appreciate it's great =
depth of field and whether it "works" or not.
And we can discuss the usefulness of flexibility and usefulness of being =
able to choose and to change a point of view or move from POV to POV to =
suit our needs.
AND, whats really fun. Is you can blow this model off completely and do =
it another way just as effectively if not moreso. The important thing is =
to find a model that feels right for you and that you can be =
super-enthusiastic about. Commander Mark for example, a great approach, =
fun, and a very effective starting point.
This year I think that I'm going to play in at least one class with =
collage as a foundation for learning representation and drawing. I found =
a really neat book the other day: Realistic Collage: step by step by =
Michael David Brown and Phil Metzger -- 1998, North Light Books pub. I =
think it offers a neat and unique opportunity to learn to perceive the =
potential 2D aspects of what --we perceive-- as 3D space. To SEE flat so =
we can draw SPACE on a flat surface. (BTW, that's NOT the books aim, of =
course. They just want to demo how to collage in this style. Ya gotta =
<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">