Just another 2 cents worth from me, I really agree with Ronettes ideas
below, it is a quandry now for art teachers regarding teaching young
children, as there is a strong idea about that it is wrong to teach
children under 12 to draw accurately.
This is considered to quelch their childs natural creativity. Romantic
as the idea is, I am not so sure that learning to draw from an early age
actually stops them being creative, in fact the opposite seems to be
true. The main thing as Ronette says is to be caring and encouraging
always (and this is even more important teaching adults I think).
Undoubtedly the old school of traditionalists probably would attempt to
squash any leaning to modernistic non realistic drawing.
I think that a student should have a go at everything, and sculpt and
paint and whatever. It rounds you out as an accomplished artist. Good
realism is always expressive, just look at Frans Hals or Velasquez up close.
DRAWING-RESEARCH automatic digest system wrote:
> There are 3 messages totalling 685 lines in this issue.
>
> Topics of the day:
>
> 1. DRAWING-RESEARCH Digest - 31 May 2007 to 1 Jun 2007 (#2007-64) (2)
> 2. Teaching Drawing to Adults
>
> ----------------------------------------------------------------------
>
> Date: Sat, 2 Jun 2007 19:31:32 -0400
> From: Venantius Pinto <[log in to unmask]>
> Subject: Re: DRAWING-RESEARCH Digest - 31 May 2007 to 1 Jun 2007 (#2007-64)
>
> Hello Ronette,
> Within the spirit of your note, allow me to point you to the first part of a collaboration I recently did
> with a Athena Feodora, a four year old.
>
> http://www.flickr.com/photos/venantius/522019264/
> Click on ALL SIZES, and then Original to see the piece.
>
> Some of my work may be seen at:
> http://www.flickr.com/photos/venantius/sets
>
> Venantius J Pinto
>
> ______________________________________
> On Sun, 3 Jun 2007 09:49:51 +1200, Ronette Pickering wrote
>
>> Hi David
>>
>> I too would be interested to know what others regard as drawing's foundation principles. If only to
>>
> find out if they happen to coincide with my own opinion.
>
>> However I am intrigued that a distinction is made regarding the age of students who happen to be
>>
> learning to draw (see below) and students are often, in this thread, referred to as 'young adults'. Is
> this because it is the age range of students taking arts courses?
>
>> It is my belief that the age of the students is immaterial - young children can be just as convinced
>>
> that they can't draw as the elderly. The same kind of approach to learning seems to work no matter
> what the age - early success in terms of meeting aspirations, constant encouragement and positive
> yet constructive feedback. And of course the more you practise the better you get.
>
>> There seems to be an age though, when children change from being happy with their drawings to
>>
> being dissatisfied (often around 8 years +), and this can be because of comments from others, but
> often as not it is their own perception of what they are trying and, in their opinion, failing to achieve
> This is the teachable moment ... but often a missed moment because not many adults - parents or
> teachers - are able to draw and they too are convinced that you need some kind of innate talent or
> else they don't think it is important in the scheme of things anyway. But 'talent' is a slippery word.
>
>> Look forward to hearing what you think.
>>
>> Ronette
>>
>> ----- Original Message -----
>> From: Paul Bettinson
>> To: [log in to unmask]
>> Sent: Sunday, June 03, 2007 8:23 AM
>> Subject: Re: DRAWING-RESEARCH Digest - 31 May 2007 to 1 Jun 2007 (#2007-64)
>>
>> hi david
>>
>> read your last post repy to sarah - what do you regard as drawings foundational principles? and/
>>
> or may i relate this question back to your post: what foundational drawing prnciples should be
> taught to young adults? (age range approx 17 - 27)
>
>> your answer will definately help me cross-reference texts and find out more to read for myself
>>
> and of course help me in a drawing projetc i will be holding for 3d graphic film students next
> semester!
>
>> be great to get info from you!
>>
>> best regards
>>
>> paul
>>
>> On 5/6/07, David <[log in to unmask]> wrote:
>> Hi Sarah, I have been teaching young adults (and older adults) to draw
>> realistically for about 11 years and I would like to
>> share some of the common 'problems young adults face when trying to
>> learn how to draw realistically (without previous experience)' that I
>> have found in that time.
>> Problems
>> 1. Having the idea , gained from art teachers, media, family and
>> friends, that artists and 'good drawers' are born with an innate gift,
>> that only some have it, and that you cant be taught to draw unless born
>> with this happy gift.
>> As Ronette Pickering writes below, once the young student hears that
>> this is not considered true by artists themselves and that you can be
>> taught this skill they usually feel set free , and motivated.
>> 2. Breaking away from the writing brain to the drawing brain. This is a
>> big issue in our cultures now as writing and mathematical writing are
>> drilled in from infancy, and thus the habit of concentrating on small
>> details is extremely hard to break.
>> I do it by insisting on them holding the pencil like a brush, and if
>> they are open to it, drawing 'backhand' instead of with the traditional
>> writing grip. This change in feel helps a lot of students break from the
>> writing mentality, and it encourages drawing with the whole arm rather
>> than just the wrist and fingers.
>> 3. Finding a well educated drawing teacher patient and caring enough to
>> gently reiterate foundational principles over and over and over. There
>> are many drawing teachers available, but not a lot that could really be
>> considered to understand and be able to apply the full tradition of past
>> and contemporary drawing principles. This is a general problem now as
>> traditional realistic drawing training has been greatly neglected in
>> tertiary art schools ( and in primary and secondary) for quite a number
>> of years.
>> So a student keen to learn the great tradition has to take what they can
>> get. If a student is really keen and reads lots of good drawing
>> education texts then they will eventually be able to assess the level of
>> tuition they are getting.
>> One of the hallmarks of a good drawing teacher ( I think) is that they
>> will always demonstrate and teach by drawing.
>> A good drawing says a thousand words!
>>
>> I would appreciate it Sarah (and I'm sure the other correspondents would
>> feel the same) if you would acknowledge any use of what we have written
>> here in your thesis.
>> Regards, David Lovegrove
>> ( I have a Diploma of Fine Art from the Julian Ashton Art School, Sydney
>> , and a M.A in Visual Art from Queensland College of Art, Griffith
>> University Brisbane).
>>
>> DRAWING-RESEARCH automatic digest system wrote:
>> > There is 1 message totalling 170 lines in this issue.
>> >
>> > Topics of the day:
>> >
>> > 1. Teaching Drawing
>> >
>> > ----------------------------------------------------------------------
>> >
>> > Date: Fri, 1 Jun 2007 21:07:56 +0100
>> > From: waqas <[log in to unmask] >
>> > Subject: Re: Teaching Drawing
>> >
>> > Sahra,
>> > Being an art/drawing educator must be really difficult at times and I
>> > don't envy the art tutor's job. I am not a drawing academic but I have
>> > found that attempting to link any theory and practice is often
>> > nonsensical. When it does link, it tends to occur without any conscious
>> > recognition that it has or afterward if a tutor provides their
>> > constructive feedback. The drawing may not turn out to be a masterpiece
>> > but it's important that an individual can move on to the next
>> > composition with relative ease. I can assure you, that does not always
>> > happen. Sometimes, I have started to draw a subject and then found
>> > myself annoyed that it isn't turning out as I'd wished and either it's
>> > scrapped or just put down to experience.
>> >
>> > People learn at any stage of life, no matter what the subject matter
>> > is. Julia Morrisoe's points about what to do with the skill and how
>> > does it further goals are really valid questions.
>> >
>> > You are welcome to view some of my past conceptual and exploratory
>> > drawings at http://thetrilbydrawingroom.typepad.co.uk which is being
>> > updated as and when I get the time.
>> >
>> > Good luck in your drawing research.
>> > Waqas.
>> >
>> > Sahra Kunz wrote:
>> >
>> >> hello:
>> >> Thank you for your replies:
>> >>
>> >> My academic background training was as a painter, and I found (and still find) that the initial
>>
> stages of teaching drawing should focus more on the rational aspects, such as learning to observe
> reality, and place yourself objectively in front of it.This was never the case when I was at university,
> the focus lay on expression and artistic qualities.
>
>> >> My theoretical work is heavily based on John Willats, and also computer vision experts such
>>
> as David Marr, Irving Biederman, and others.
>
>> >> I hope to find a common rationale (art and science) in order to improve my teaching skills,
>>
> and perhaps even explain certain common representational errors this way.
>
>> >> I have found that explaining the underlying visual processes to students is often helpful
>>
> when trying to explain things like perspective (they often refuse to believe it, even when observing it
> directly).
>
>> >> Has anyone else tried this approach?
>> >> Thank you
>> >> Sahra
>> >>
>> >>
>> >> -----Original Message-----
>> >> From: The UK drawing research network mailing list on behalf of Ronette Pickering
>> >> Sent: Thu 5/31/2007 12:32 AM
>> >> To: [log in to unmask]
>> >> Subject: Re: Teaching Drawing to Adults
>> >>
>> >> Hello Sahra
>> >>
>> >> I have been teaching figure drawing to community groups since 1993 and
>> >> continue to do so now that I am retired from teaching in full time art
>> >> programmes. My students choose to come to the class because they are
>> >> interested and they come with a range of experience from complete beginners
>> >> to those who have been attending my classes for years and who may or may not
>> >> be involved in their own art practice. The students range in age from 17 to
>> >> 80 years of age and include both men and women. I use both male and female
>> >> models, some of whom are also artists.
>> >>
>> >> These students come to the class for a variety of reasons. They want a
>> >> challenge, they want to learn to draw, they want extra drawing practice,
>> >> they want to improve their ability to see, they want to use drawing
>> >> particularly in their practice, they want to find new ways to interpret the
>> >> figure, they want to get out of the house, they want to think of things
>> >> other than the needs of their family, they want to have time for themselves
>> >> where they can be completely absorbed, they may be teachers who want to be
>> >> told what to do and not think at all for a change ...
>> >>
>> >> So I need to be able to cater for the needs of each of them within a three
>> >> hours class. I do this by choosing drawing activities that are challenging
>> >> for all students whether they have drawn before or not. I have used books by
>> >> Robert Kaupelis - Experimental Drawing, where there are numerous useful
>> >> drawing exercises (eg drawing blindfolded); Kimon Nicolaides - The Natural
>> >> Way to Draw (eg flash drawings); Daniel Mendelowitz - A Guide to Drawing;
>> >> Nathan Goldstein - The Art of Responsive Drawing, and Figure Drawing-
>> >> Structural Anatomy and Expressive Design of the Human Form ... and many
>> >> more, as well as devising my own exercises.
>> >>
>> >> I also constantly revisit basic drawing approaches, teach the basics but
>> >> suggest to experienced students more challenging ways to achieve them.
>> >>
>> >> With new students, I find once I have convinced them that they everyone can
>> >> draw, themselves included, they are off. So it is important , at the start,
>> >> to provide drawing exercises where success is almost guaranteed in terms of
>> >> producing a pretty good rendition of what is before them, which is what most
>> >> beginners want to do.
>> >>
>> >> It is important to be positive but also to give constructive criticism.
>> >> What do you think works really well in your drawing? How would you do this
>> >> if you could have another go at it? What would you change? A feedback
>> >> session where everyone talks about their work is where students learn a
>> >> great deal and although it is optional everyone seems to want to show their
>> >> work and get feedback on it from the rest of the class.
>> >>
>> >> Once people can fulfill their own aspirations they are happy to be
>> >> expressive and experimental and widen their view of what drawing can be. It
>> >> helps to show drawings of all sorts that stretch the preconceptions as well
>> >> as good master drawings of the more conventional kind.
>> >>
>> >> Hope this may be useful.
>> >>
>> >> Ronette Pickering
>> >> Nelson NZ
>> >>
>> >> ----- Original Message -----
>> >> From: "Jan White" < [log in to unmask]>
>> >> To: <[log in to unmask]>
>> >> Sent: Thursday, May 31, 2007 8:01 AM
>> >> Subject: Re: Teaching Drawing to Adults
>> >>
>> >>
>> >> Morning Sahra,
>> >> I teach freehand drawing to senior year architecture students, some of
>> >> whom, strangely, have few drawing skills. I have also taught extensive
>> >> adult drawing classes. I agree with David that the most important
>> >> barrier to learning to draw is fear. I always point out that if one has
>> >> eye-hand co-ordination, one CAN learn to draw. Betty Edwards has some
>> >> good exercises which I have also used for beginner adults: drawing a
>> >> complicated line drawing upside down and so on. They are always amazed
>> >> to find that, yes, they can do it, and very well at that. Good luck with
>> >> your project - let me know how it goes and let me know also if I can
>> >> have a copy of your thesis when you get to bind it. My other passion is
>> >> 'what drawers and artists/ writers 'saying'? Many of us will be very
>> >> interested in the findings of your research project so keep us posted,
>> >> my email is: [log in to unmask]
>> >> Best wishes,
>> >> Jan White
>> >> www.geocities.com/jmwh8981/index
>> >> [log in to unmask]
>> >>
>> >>
>> >>
>> >> -----Original Message-----
>> >> From: The UK drawing research network mailing list
>> >> [mailto:[log in to unmask]] On Behalf Of Sahra Kunz
>> >> Sent: Thursday, 31 May 2007 2:01 a.m.
>> >> To: [log in to unmask]
>> >> Subject: Teaching Drawing to Adults
>> >>
>> >> Hello:
>> >>
>> >> I am a doctorate student/university drawing teacher in Oporto
>> >> (Portugal),
>> >> and I am Writing my Doctoral Dissertation on the problems young adults
>> >> face
>> >> when trying to learn how to draw realistically (without previous
>> >> experience). I have an extensive bibliography on the same subject,
>> >> related
>> >> to children and their development in this subject (Matthews, Willats,
>> >> etc.).
>> >> So far, it has been very difficult to locate similar research, but
>> >> related
>> >> specifically to older subjects.
>> >>
>> >> I would appreciate any help immensely.
>> >> Thank You
>> >> Sahra Kunz
>> >>
>> >>
>> >> CAUTION: The information contained in this email is confidential and may be
>> >> legally privileged. If the reader of this message is not the intended
>> >> recipient you are hereby notified that any use, dissemination, distribution,
>> >> or reproduction of this message is prohibited. Thank you.
>> >>
>> >>
>> >>
>> >
>> > ------------------------------
>> >
>> > End of DRAWING-RESEARCH Digest - 31 May 2007 to 1 Jun 2007 (#2007-64)
>> > *********************************************************************
>> >
>> >
>> >
>>
>
>
> Venantius J Pinto
> [log in to unmask]
>
> ------------------------------
>
> Date: Wed, 30 May 2007 16:02:49 +0100
> From: Maureen Kendal <[log in to unmask]>
> Subject: Re: Teaching Drawing to Adults
>
> I am teaching university students, in the subject area of Multimedia.
> I do not know of research but face the same challenge with at least
> half our students, and am interested in your research and any
> practical implications or learning and teaching strategies for this
> age group who have had no or minimal exposure to drawing.
>
> Thank you
> Maureen Kendal
> London Metropolitan University
>
> On 30 May 2007, at 15:00, Sahra Kunz wrote:
>
>
>> Hello:
>>
>> I am a doctorate student/university drawing teacher in Oporto
>> (Portugal),
>> and I am Writing my Doctoral Dissertation on the problems young
>> adults face
>> when trying to learn how to draw realistically (without previous
>> experience). I have an extensive bibliography on the same subject,
>> related
>> to children and their development in this subject (Matthews,
>> Willats, etc.).
>> So far, it has been very difficult to locate similar research, but
>> related
>> specifically to older subjects.
>>
>> I would appreciate any help immensely.
>> Thank You
>> Sahra Kunz
>>
>
> ------------------------------
>
> Date: Sun, 3 Jun 2007 16:55:01 +0100
> From: waqas <[log in to unmask]>
> Subject: Re: DRAWING-RESEARCH Digest - 31 May 2007 to 1 Jun 2007 (#2007-64)
>
> Venantius, that frieze is quite superb. I also like your work on
> ancient calligraphy. (Sorry if that is off topic, others). -waqas
>
> Venantius Pinto wrote:
>
>> Hello Ronette,
>> Within the spirit of your note, allow me to point you to the first part of a collaboration I recently did
>> with a Athena Feodora, a four year old.
>>
>> http://www.flickr.com/photos/venantius/522019264/
>> Click on ALL SIZES, and then Original to see the piece.
>>
>> Some of my work may be seen at:
>> http://www.flickr.com/photos/venantius/sets
>>
>> Venantius J Pinto
>>
>> ______________________________________
>> On Sun, 3 Jun 2007 09:49:51 +1200, Ronette Pickering wrote
>>
>>
>>> Hi David
>>>
>>> I too would be interested to know what others regard as drawing's foundation principles. If only to
>>>
>>>
>> find out if they happen to coincide with my own opinion.
>>
>>
>>> However I am intrigued that a distinction is made regarding the age of students who happen to be
>>>
>>>
>> learning to draw (see below) and students are often, in this thread, referred to as 'young adults'. Is
>> this because it is the age range of students taking arts courses?
>>
>>
>>> It is my belief that the age of the students is immaterial - young children can be just as convinced
>>>
>>>
>> that they can't draw as the elderly. The same kind of approach to learning seems to work no matter
>> what the age - early success in terms of meeting aspirations, constant encouragement and positive
>> yet constructive feedback. And of course the more you practise the better you get.
>>
>>
>>> There seems to be an age though, when children change from being happy with their drawings to
>>>
>>>
>> being dissatisfied (often around 8 years +), and this can be because of comments from others, but
>> often as not it is their own perception of what they are trying and, in their opinion, failing to achieve
>> This is the teachable moment ... but often a missed moment because not many adults - parents or
>> teachers - are able to draw and they too are convinced that you need some kind of innate talent or
>> else they don't think it is important in the scheme of things anyway. But 'talent' is a slippery word.
>>
>>
>>> Look forward to hearing what you think.
>>>
>>> Ronette
>>>
>>> ----- Original Message -----
>>> From: Paul Bettinson
>>> To: [log in to unmask]
>>> Sent: Sunday, June 03, 2007 8:23 AM
>>> Subject: Re: DRAWING-RESEARCH Digest - 31 May 2007 to 1 Jun 2007 (#2007-64)
>>>
>>> hi david
>>>
>>> read your last post repy to sarah - what do you regard as drawings foundational principles? and/
>>>
>>>
>> or may i relate this question back to your post: what foundational drawing prnciples should be
>> taught to young adults? (age range approx 17 - 27)
>>
>>
>>> your answer will definately help me cross-reference texts and find out more to read for myself
>>>
>>>
>> and of course help me in a drawing projetc i will be holding for 3d graphic film students next
>> semester!
>>
>>
>>> be great to get info from you!
>>>
>>> best regards
>>>
>>> paul
>>>
>>> On 5/6/07, David <[log in to unmask]> wrote:
>>> Hi Sarah, I have been teaching young adults (and older adults) to draw
>>> realistically for about 11 years and I would like to
>>> share some of the common 'problems young adults face when trying to
>>> learn how to draw realistically (without previous experience)' that I
>>> have found in that time.
>>> Problems
>>> 1. Having the idea , gained from art teachers, media, family and
>>> friends, that artists and 'good drawers' are born with an innate gift,
>>> that only some have it, and that you cant be taught to draw unless born
>>> with this happy gift.
>>> As Ronette Pickering writes below, once the young student hears that
>>> this is not considered true by artists themselves and that you can be
>>> taught this skill they usually feel set free , and motivated.
>>> 2. Breaking away from the writing brain to the drawing brain. This is a
>>> big issue in our cultures now as writing and mathematical writing are
>>> drilled in from infancy, and thus the habit of concentrating on small
>>> details is extremely hard to break.
>>> I do it by insisting on them holding the pencil like a brush, and if
>>> they are open to it, drawing 'backhand' instead of with the traditional
>>> writing grip. This change in feel helps a lot of students break from the
>>> writing mentality, and it encourages drawing with the whole arm rather
>>> than just the wrist and fingers.
>>> 3. Finding a well educated drawing teacher patient and caring enough to
>>> gently reiterate foundational principles over and over and over. There
>>> are many drawing teachers available, but not a lot that could really be
>>> considered to understand and be able to apply the full tradition of past
>>> and contemporary drawing principles. This is a general problem now as
>>> traditional realistic drawing training has been greatly neglected in
>>> tertiary art schools ( and in primary and secondary) for quite a number
>>> of years.
>>> So a student keen to learn the great tradition has to take what they can
>>> get. If a student is really keen and reads lots of good drawing
>>> education texts then they will eventually be able to assess the level of
>>> tuition they are getting.
>>> One of the hallmarks of a good drawing teacher ( I think) is that they
>>> will always demonstrate and teach by drawing.
>>> A good drawing says a thousand words!
>>>
>>> I would appreciate it Sarah (and I'm sure the other correspondents would
>>> feel the same) if you would acknowledge any use of what we have written
>>> here in your thesis.
>>> Regards, David Lovegrove
>>> ( I have a Diploma of Fine Art from the Julian Ashton Art School, Sydney
>>> , and a M.A in Visual Art from Queensland College of Art, Griffith
>>> University Brisbane).
>>>
>>> DRAWING-RESEARCH automatic digest system wrote:
>>> > There is 1 message totalling 170 lines in this issue.
>>> >
>>> > Topics of the day:
>>> >
>>> > 1. Teaching Drawing
>>> >
>>> > ----------------------------------------------------------------------
>>> >
>>> > Date: Fri, 1 Jun 2007 21:07:56 +0100
>>> > From: waqas <[log in to unmask] >
>>> > Subject: Re: Teaching Drawing
>>> >
>>> > Sahra,
>>> > Being an art/drawing educator must be really difficult at times and I
>>> > don't envy the art tutor's job. I am not a drawing academic but I have
>>> > found that attempting to link any theory and practice is often
>>> > nonsensical. When it does link, it tends to occur without any conscious
>>> > recognition that it has or afterward if a tutor provides their
>>> > constructive feedback. The drawing may not turn out to be a masterpiece
>>> > but it's important that an individual can move on to the next
>>> > composition with relative ease. I can assure you, that does not always
>>> > happen. Sometimes, I have started to draw a subject and then found
>>> > myself annoyed that it isn't turning out as I'd wished and either it's
>>> > scrapped or just put down to experience.
>>> >
>>> > People learn at any stage of life, no matter what the subject matter
>>> > is. Julia Morrisoe's points about what to do with the skill and how
>>> > does it further goals are really valid questions.
>>> >
>>> > You are welcome to view some of my past conceptual and exploratory
>>> > drawings at http://thetrilbydrawingroom.typepad.co.uk which is being
>>> > updated as and when I get the time.
>>> >
>>> > Good luck in your drawing research.
>>> > Waqas.
>>> >
>>> > Sahra Kunz wrote:
>>> >
>>> >> hello:
>>> >> Thank you for your replies:
>>> >>
>>> >> My academic background training was as a painter, and I found (and still find) that the initial
>>>
>>>
>> stages of teaching drawing should focus more on the rational aspects, such as learning to observe
>> reality, and place yourself objectively in front of it.This was never the case when I was at university,
>> the focus lay on expression and artistic qualities.
>>
>>
>>> >> My theoretical work is heavily based on John Willats, and also computer vision experts such
>>>
>>>
>> as David Marr, Irving Biederman, and others.
>>
>>
>>> >> I hope to find a common rationale (art and science) in order to improve my teaching skills,
>>>
>>>
>> and perhaps even explain certain common representational errors this way.
>>
>>
>>> >> I have found that explaining the underlying visual processes to students is often helpful
>>>
>>>
>> when trying to explain things like perspective (they often refuse to believe it, even when observing it
>> directly).
>>
>>
>>> >> Has anyone else tried this approach?
>>> >> Thank you
>>> >> Sahra
>>> >>
>>> >>
>>> >> -----Original Message-----
>>> >> From: The UK drawing research network mailing list on behalf of Ronette Pickering
>>> >> Sent: Thu 5/31/2007 12:32 AM
>>> >> To: [log in to unmask]
>>> >> Subject: Re: Teaching Drawing to Adults
>>> >>
>>> >> Hello Sahra
>>> >>
>>> >> I have been teaching figure drawing to community groups since 1993 and
>>> >> continue to do so now that I am retired from teaching in full time art
>>> >> programmes. My students choose to come to the class because they are
>>> >> interested and they come with a range of experience from complete beginners
>>> >> to those who have been attending my classes for years and who may or may not
>>> >> be involved in their own art practice. The students range in age from 17 to
>>> >> 80 years of age and include both men and women. I use both male and female
>>> >> models, some of whom are also artists.
>>> >>
>>> >> These students come to the class for a variety of reasons. They want a
>>> >> challenge, they want to learn to draw, they want extra drawing practice,
>>> >> they want to improve their ability to see, they want to use drawing
>>> >> particularly in their practice, they want to find new ways to interpret the
>>> >> figure, they want to get out of the house, they want to think of things
>>> >> other than the needs of their family, they want to have time for themselves
>>> >> where they can be completely absorbed, they may be teachers who want to be
>>> >> told what to do and not think at all for a change ...
>>> >>
>>> >> So I need to be able to cater for the needs of each of them within a three
>>> >> hours class. I do this by choosing drawing activities that are challenging
>>> >> for all students whether they have drawn before or not. I have used books by
>>> >> Robert Kaupelis - Experimental Drawing, where there are numerous useful
>>> >> drawing exercises (eg drawing blindfolded); Kimon Nicolaides - The Natural
>>> >> Way to Draw (eg flash drawings); Daniel Mendelowitz - A Guide to Drawing;
>>> >> Nathan Goldstein - The Art of Responsive Drawing, and Figure Drawing-
>>> >> Structural Anatomy and Expressive Design of the Human Form ... and many
>>> >> more, as well as devising my own exercises.
>>> >>
>>> >> I also constantly revisit basic drawing approaches, teach the basics but
>>> >> suggest to experienced students more challenging ways to achieve them.
>>> >>
>>> >> With new students, I find once I have convinced them that they everyone can
>>> >> draw, themselves included, they are off. So it is important , at the start,
>>> >> to provide drawing exercises where success is almost guaranteed in terms of
>>> >> producing a pretty good rendition of what is before them, which is what most
>>> >> beginners want to do.
>>> >>
>>> >> It is important to be positive but also to give constructive criticism.
>>> >> What do you think works really well in your drawing? How would you do this
>>> >> if you could have another go at it? What would you change? A feedback
>>> >> session where everyone talks about their work is where students learn a
>>> >> great deal and although it is optional everyone seems to want to show their
>>> >> work and get feedback on it from the rest of the class.
>>> >>
>>> >> Once people can fulfill their own aspirations they are happy to be
>>> >> expressive and experimental and widen their view of what drawing can be. It
>>> >> helps to show drawings of all sorts that stretch the preconceptions as well
>>> >> as good master drawings of the more conventional kind.
>>> >>
>>> >> Hope this may be useful.
>>> >>
>>> >> Ronette Pickering
>>> >> Nelson NZ
>>> >>
>>> >> ----- Original Message -----
>>> >> From: "Jan White" < [log in to unmask]>
>>> >> To: <[log in to unmask]>
>>> >> Sent: Thursday, May 31, 2007 8:01 AM
>>> >> Subject: Re: Teaching Drawing to Adults
>>> >>
>>> >>
>>> >> Morning Sahra,
>>> >> I teach freehand drawing to senior year architecture students, some of
>>> >> whom, strangely, have few drawing skills. I have also taught extensive
>>> >> adult drawing classes. I agree with David that the most important
>>> >> barrier to learning to draw is fear. I always point out that if one has
>>> >> eye-hand co-ordination, one CAN learn to draw. Betty Edwards has some
>>> >> good exercises which I have also used for beginner adults: drawing a
>>> >> complicated line drawing upside down and so on. They are always amazed
>>> >> to find that, yes, they can do it, and very well at that. Good luck with
>>> >> your project - let me know how it goes and let me know also if I can
>>> >> have a copy of your thesis when you get to bind it. My other passion is
>>> >> 'what drawers and artists/ writers 'saying'? Many of us will be very
>>> >> interested in the findings of your research project so keep us posted,
>>> >> my email is: [log in to unmask]
>>> >> Best wishes,
>>> >> Jan White
>>> >> www.geocities.com/jmwh8981/index
>>> >> [log in to unmask]
>>> >>
>>> >>
>>> >>
>>> >> -----Original Message-----
>>> >> From: The UK drawing research network mailing list
>>> >> [mailto:[log in to unmask]] On Behalf Of Sahra Kunz
>>> >> Sent: Thursday, 31 May 2007 2:01 a.m.
>>> >> To: [log in to unmask]
>>> >> Subject: Teaching Drawing to Adults
>>> >>
>>> >> Hello:
>>> >>
>>> >> I am a doctorate student/university drawing teacher in Oporto
>>> >> (Portugal),
>>> >> and I am Writing my Doctoral Dissertation on the problems young adults
>>> >> face
>>> >> when trying to learn how to draw realistically (without previous
>>> >> experience). I have an extensive bibliography on the same subject,
>>> >> related
>>> >> to children and their development in this subject (Matthews, Willats,
>>> >> etc.).
>>> >> So far, it has been very difficult to locate similar research, but
>>> >> related
>>> >> specifically to older subjects.
>>> >>
>>> >> I would appreciate any help immensely.
>>> >> Thank You
>>> >> Sahra Kunz
>>> >>
>>> >>
>>> >> CAUTION: The information contained in this email is confidential and may be
>>> >> legally privileged. If the reader of this message is not the intended
>>> >> recipient you are hereby notified that any use, dissemination, distribution,
>>> >> or reproduction of this message is prohibited. Thank you.
>>> >>
>>> >>
>>> >>
>>> >
>>> > ------------------------------
>>> >
>>> > End of DRAWING-RESEARCH Digest - 31 May 2007 to 1 Jun 2007 (#2007-64)
>>> > *********************************************************************
>>> >
>>> >
>>> >
>>>
>>>
>> Venantius J Pinto
>> [log in to unmask]
>>
>>
>>
>
> ------------------------------
>
> End of DRAWING-RESEARCH Digest - 2 Jun 2007 to 3 Jun 2007 (#2007-66)
> ********************************************************************
>
>
>
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