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Now my comments:
First of all, brain research is the least of my concerns. I believe in
taking any and all theories with a grain of salt. And I understand that
learning styles differ.
Ellen, I think many people draw by SUBCONSCIOUSLY projecting the 3-D object
onto an imaginary transparent 2-D surface in front of them, then onto their
paper, like the Renaissance grid contraption you see in some drawing books.
I've also found that drawing on a window with a washable marker while
looking at a building outside is a good way to prove my point to students
Fred, yes, we're always using some sort of formula and maybe our job is to
get kids to the highest formal level as possible, but I still believe in
"pure" drawing, a la Frederick Franck, and blind contours. An artist can be
"in the zone" much the same as an athlete or musician. And yes we are all
Linda, your drawing lesson regarding visual relationships makes sense, as
well as your analogy to music. As an amateur musician, I relish the rare
instances when it becomes automatic, and enjoy those whose virtuosity
affords that experience all the time. I came to teaching from a studio
background, and I still struggle with the idea of the "art experience" and
how to get kids to have it. When I draw, all those rules of perspective,
etc., are in the back of my head, undeniably.
Thanks, again to all. Continue the discussion. How about discussing drawing
texts . . . Nicolaides? Franck? Betty Edwards? Mona Brookes? Commander