Examples1. Analyze and evaluate your handbook of art and design teaching methods. What works for you? What does not work for you? Write a response and post it along with examples from the book.
I chose Ellen Lupton's "Graphic Design Thinking: Beyond Brainstorming." I really love how this book focuses on the design process. This book presents dozens of tools and techniques to stimulate visual, effective designs and approaches. I love how everything is presented in easy-to-read text along with appropriate graphics and illustrations. I also appreciate that when introducing a new subject, it gave a step-by-step process in what to do. I love how the book also presented "Case Studies." There was nothing that did not work for me in this book. I never felt like it was too cluttered or too unorganized. Lupton definitely edited this book to portray what book is teaching. The design process is helpful and important to be aware of when it is time to communicate information. There is a saying that states " Good design is invisible. Bad design is everywhere." This book definitely radiates what it discusses. I love it! Examples: I made my mandala out of paint. I love painting, it is probably the art medium I love the most. I placed primary colors and a red violet on a plain, white paper. I then played with the impermanence by simply mixing the paint. The colors all blended together and made a brown, which was totally expected. However, what I did not expect was the original placement of the paint to stain the paper below. After wiping off the paint, I was left with this beautiful remnant of my paint mandala.
Although this is not technically the same as the impermanence of Tibetan sand mandalas of total impermanence with the mandala only to be seen in memory. This experience left me with the reflection on the temporal nature of our lives, but also hinting at the eternal perspective. If comparing the paint to our actions and the blank paper to our lives, then the mixing would allude to time passing. The ending mandala would conclude the mandala's life and could be compared to our eternal identity. We still carry the marks of our past life, the knowledge and scars, but with a new beautiful outlook. This article discusses figure drawing in response to contemporary art and its importance in classroom settings. It is so true how students and youths are constantly bombarded with imagery of the human body in all parts of society and media. Unfortunately, majority of the time the body is depicted as romanticize, demeaned, and/or glorified. This article discusses/focus on the point of identity. Figure drawing in curriculum allows the students to gain the experience to carefully study the human figure. They can grow appreciation instead of resentment towards the “perfect” body that society creates.
I have a lot of experience with figure drawing. I think it all began in my teenage years with the cliche obsession with Japanese anime and manga. I began to be obsessed with drawing human figures. However, there figures were definitely stylized and shaped to be this “perfect” human. I took my first formal training class in figure drawing in 2014. I learned a lot! It was the ART 220: Intro to Figure Drawing with Fidalis. It was my first experience drawing a model. I began to be obsessed and interested in the human body. I am currently in the Advanced Figure Drawing, with Fidalis. Again, I am obsessed with the drawing the human body. I love figure drawing and I super intrigued by how there is so much to be learned while figure drawing; such as skills of observation, rendering, and knowledge of principles and elements of art. I would approach this topic by teaching it. I would want my students to understand that the human body is so much more than just what society says/depicts it is. I would want my students to grow appreciation and understand the true identity of it all. I would begin by talking about the human figure found in art history. We could compare/contrast the representations of art history and modern views of the human form. This could then transition into gesture drawing, and then observational drawings. We can discuss lines, shadings/values, and movement. |
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April 2018
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