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Lesson Plans


Re: TEACHING DRAWING?

[ Thread ][ Subject ][ Author ][ Date ]
kprs (kprs)
Sat, 19 Oct 1996 09:03:57 -0700


Mark Alexander wrote:
>
> Thom, I couldn't agree more. When people ask me if I'll be teaching the
> students how to draw, I simply say no. It throws them a bit until I
> explain that I hope to teach them how to see and believe what they see. I
> explain that I hope to teach them how to manipulate a variety of medium. I
> intend to teach them how to use the elements and principles of design. But
> I don't specifically "teach them how to draw." Of course I show the
> students proportions, and different types of perspective, and how to draw
> the large shapes first, but I am not interested in showing them symbols
> they can use instead of relying on true observational skills. Furthermore,
> drawing from memory and drawing from the imagination is much easier if the
> drawer has had practice observing and drawing from life.
>
> Mark Alexander
> 1-8 art
> Lee H. Kellogg
>
> >Eyes in the forehead, corner suns, "V" birds and "M" birds are symbols that
> >they learn very early. They are a kind of folk art formula that they pick
> >up from parents and peers. You can replace these formulae with other
> >formulae, but I prefer to emphasize observational drawing, or on the right
> >side of the brain, if you are into that. Measuring and creating formulae
> >are left brain activities. True drawing is right brain. You may have to
> >prove the reality of facial proportion by measuring, but nothing replaces
> >observing and continuous practice. My fifth and sixth graders draw every
> >week, from observation.
> >
> >The same philosophy applies to teaching one- and two-point perspective.
> >
> >Thom Maltbie
> >South Ripley Elementary School
> >Versailles, IN 47042
> >
> >http://www.venus.net/~sripel2/SRESArt.html
> >http://www.geocities.com/Paris/3827

Me too! (Besides, some students can "outdraw" me, but I always can "out
think" them). When I first came to this HS, I entered in the middle of
the year, and prepared "the other art" teacher's students portfolios for
college. One of the best "drawers" went on to Pratt, only to drop out 2
weeks later because he couldn't critique, didn't know why he drew what
he did, made no historical references, came up with no orginal ideas,
perspectives, or inventiveness. But boy could he draw! In fact, we
became friends, and now 20 years later he is established in banking and
draws for pleasure for his children. Not bad news, but he will be first
to tell you that there is more to the "drawing" thing than meets the
eye.

San D