Showing posts with label continuous line drawing. Show all posts
Showing posts with label continuous line drawing. Show all posts

Sunday, August 16, 2020

The Ten Minute Session: Continuous Line Drawing

Description

Unbroken line (do NOT lift the pencil off the page)

Lines may double up

 


Instructions

1.     Pick an object that you have to hand; a cup, your phone

2.     Set yourself up with some paper and a pen or pencil

3.     Look at your object carefully, decide where you are going to start your drawing from

4.     Put your pen on the paper – and do not remove it – and follow the shape of your chosen object. You can cross over lines and retrace areas if you need to get your pen to a different spot

Task One

Complete a 30 second continuous line drawing

Task Two

Complete a 2-minute continuous line drawing


Sunday, May 31, 2020

The Ten Minute Session: The Development

The Ten Minute Sessions can now be found on ACL Essex social media sites.

Having the sessions shared on this blog was a great opportunity to reach a wider audience. However, it did mean some tweaking in regards to content. In keeping with my role at ACL, as an Art Tutor all the activities are now creative and the activities are also accompanied by a written blog post explaining the benefits and skills gained by completing each session.

Below are some of the session (past and future) which will feature on the blog.


  • Intro to line drawing: Continuous Line
  • Paper folding, make a secret teller
  • Doodle these images
  • Draw this
  • Intro to line drawing: blind line drawing
  • Paper folding, make a concertina
  • Automatic writing
  • Draw straight lines
  • Instructional art
  • Memory drawing
  • Non dominant hand drawing
  • Drawing circles
  • Double writing
  • Emotional mark making
  • Object Tracing
  • Nature mandala art
  • Intro to line drawing: Contour drawing
  • Make a cube


Sunday, March 8, 2020

Continued...The Road Sign Collection - Series One Development (Firstsite Collectors Group Bursary)

The Road Sign Collection drawings are now complete. 





Next Steps

- To print and review The Road Sign Collection
- To cut down The Road Sign Collection from 71 to 50
- To seek peer advice on The Road Sign Collection; How to group the work, How to cut down the collection to 50 signs
- Look into types of book; shape and size, visual/colouring 

Sunday, February 23, 2020

The Road Sign Collection - Series One Development (Firstsite Collectors Group Bursary)

In order to develop The Road Sign Collection I used some of my Firstsite Collectors Group bursary to invest in new software. I needed this software in order to re-draw and increase the DPI of my line drawings.

09/02/20

Test One

Before I could get started properly I had to face a few learning curves. I needed to get use to and becomes one with the feel of the digital pen, to ensure that I would be able to follow the lines of the road signs accurately. I found that the pen was very sensitive and that I needed to keep direct contact with the drawing tablet at all time. This should have been easy, given that I am working with continuous line drawing, however I am sure at times I had remained contact but the line still became broken.







Test Two

While my usual methodology is to do something and then be done with it, I felt that I needed to afford myself some practice with the road signs before officially starting the process. This, it turns out was a good idea as I am still getting to grips with the new software I was not convinced by the practice outcome. Looking at the produced line drawing it feels rather weak, in colour and in line. The text is also not completely legible, which is an issue as the text is such a huge part of the signs integral meaning and purpose.
11/02/20

Test Three

Another practice, but improvement made. The text is more readable and the lines more certain of themselves. As I am still sceptical about the colouring of the lines I have explored different options.

Sign One: Point 1
Sign Two: Point 5
Sign Three: Point 7.5



I will disregard Point 1 as it is not visually strong enough. My initial reaction is Point 7.5, however I worry that goes the other way and is too strong. There is a need for the line to be bold and clear

Test Four

A timely reminded to not get over confident, broken lines. 


Test Five

I need to be more careful when completing the text part of the sign. This sign will be re-done. I am torn as I want the signed to be clearly hand rendered, however I also want them to be read-able.


Completed: 3/71

12/02/20

Test Six

Landscape v's Portrait: Debating which orientation is best in relation to which allows for the largest outcome.


In this instance landscape works best, my worry going forward this that this might not be a trend. For my end goal I feel that they all need to exist in the same format and so it may just be a case of picking one and sticking with it.


Development

The decisions made so far:
  1. Line thickness: 7.5
  2. Page orientation: Landscape



To accommodate the landscape orientation I have made the decision to crop out any legs and poles attached to the signage (see text five for original image comparison), to allow the focus to be completely on the sign itself. This also allows for the image of the sign to take up more of the page.

Completed: 5/71

13/02/20

Development 



It is taking a while to get back into the swing of drawing these things. On reflection I think that I am holding the digital pen incorrectly, too harshly and putting too much force into the movements. I need to loosen up, follow my own advice that I give when teaching drawing, and use my whole arm to follow the lines.

Some just do not look right. I want to resist the urge to re-do the ones I feel look wrong, as with continuous line drawing they are going to look imperfect. They tend to look worse in isolation, than when viewed with the rest of the collection,




Completed:  15/71

16/02/20

Development

I find that when I revisit the signs that I did not initially take to, I can then see them in a new light and accept them for what they are.

However, this hindsight does not extend to new works and I still find that I am having these initial disappointed feelings towards some new signs.


Completed:  22/71

20/02/20

Development 








Completed:  32/71

22/02/20

Development 






Saturday, November 16, 2019

Planning Teaching: What should come first?


One of my main teaching struggles comes from knowing what to teach first. This is not a problem that is exclusive to my art teaching, but my teaching in general. In this blog I will focus on my Exploring Drawing and Illustration course.

You have learners, you have times and dates and you have content which needs to be covered. However, when teaching unaccredited courses, you are left without a module guide or instruction from an awarding body. There are no assessments, with learning outcomes to be met either, meaning that you are left with an abundance of material and nothing to guide the structure.

The first tool I use to help guide how the course will proceed is by starting with the need to carry out initial assessments to gage each learners starting point, week one is the best time for this to take place. Working within adult community learning the starting points between learners can be vast. I use two types of initial assessment; one based on theory and the other on practical skill (Education and Training Foundation, 2019).

Within the first, I ask the group to complete a match and pair game around the theme of types of line drawing techniques. They must match the name of the line drawing technique to an image example and a written description – while the learners participate in the task, I take note of each learners’ contributions to assess their knowledge, I will also as one-to-one questions relating to the task. I find this to be a useful activity as it works in a more than one way; firstly, as the initial assessment, but also as an ice breaker activity, encouraging learners to converse in the first ten minutes of the session in a way which is not intrusive (Hartley and Dawson, 2010).



If a learner becomes stuck during the match and pair, I will get them to share the part of the puzzle that they have with the group and prompt them to ask their peers if anyone can suggest what it might correspond to. This allows me to make use of any more knowledgeable others within the group (Vygotsky, 1978), allowing all learners to complete the task. This is a benefit by having a group of learners of mixed ability work together (Seethamraju and Borman, 2009).

Depending on the size of the cohort I may split the group up and have the same activity being completed in smaller groups – with the use of random allocation, as at this point, I do not know the learners enough to use any other grouping method (Hartley and Dawson, 2010). Ideally sized between 3-6 learners (Wheelan, 2009). This ensures that all learners can actively participate in the task.

The second initial assessment is based upon the line drawing techniques outlined previously. However, it looks as assessing their practical skill set. The importance of the theory task coming first is that the assessment introduces the techniques to all the learners, which is particularly important for those learners that have not come across the techniques before. Once the first assessment is completed it provides them with a crib sheet on what the line drawing techniques are and what they look like.


Going forward after the first session my aim to create a manageable chunk of leaning, drawing on mastery learning (Bloom, 1971). While in longer courses these chunks would materialise as different units which might take place over an academic year, I look at these as each week of the course. The Exploring Drawing and Illustration course can run as either five weeks or ten weeks.

The subject matter of Drawing and Illustration is broken down into small chunks which then need to be timetabled into a logical series. This requires me to step back and consider what skills need to be covered first. This is what led me to cover the basics on line drawing in week one; on both lengths of course, as these techniques are referred to in every subsequent session. If I did not cover these first and simply referred to continuous line drawing without covering it this could leave learners without any prior knowledge confused and at a disadvantage. As there are no previous qualification requirements to enrol on the course it cannot be assumed that they have covered these in a previous course. As a way of managing a group of learners who can vary in ability individual learning plans are utilised.

At the start of each session learning objectives are set out, which tell the learners what it is they will be able to do at the end of the session, for example learners are told in the first session that they will be able to:




The learning objectives are also set to Booms revised taxonomy (Anderson, Krathwohl and Bloom, 2001) to encourage higher-order thinking skills, starting with lower level cognitive skills (Bilon, 2019).

Session two for both course lengths covered using view finders, this is covered early in the course as it is a method that learners may want to continue to return to throughout the subsequent weeks. Using a view finder can help the learner to better frame objects/the picture and to block out any distractions (Guptill, 2014). Week three sees the introduction of the grid drawing technique, again as this may be needed going forward. Other skills introduced early in the course include pencil measuring – week four.



While it would be useful to learners to be introduced to all the skills in the first week, I am conscious not to overload them with material and to instead introduce them in meaningful patterns of information with the intention that this is mean they are more likely to retain the information (Miller, 1956). After these skill sets have been covered, the running order for the rest of the sessions becomes less important, as the skills are less basic.

The rest of the course differs depending on the length of the course. Within the five-week course the final week, week five (week ten of the ten-week course), is dedicated to creating a final piece based on the new skills they have learnt. While in the ten-week course for the remaining weeks other topics are covered such as; drawing with anything but a pen and creating repeat patterns.


References


Anderson, L.W., Krathwohl and Bloom, B.S. (2001) A taxonomy for learning, teaching, and assessinga revision of Bloom's taxonomy of educational objectives. Longman.

Bilon, E. (2019) Using Bloom's Taxonomy to Write Effective Learning Objectives: The Abcds of Writing Learning Objectives: A Basic Guide. Kindle Edition.

Bloom, B.S. (1971) Mastery Learning. New York: Holt, Rinehart & Winston.

Education and Training Foundation. (2019) Excellence Gateway – Toolkit: Initial Assessment. [online] Available at:  https://toolkits.excellencegateway.org.uk/functional-skills-starter-kit/section-3-developing-effective-practice/assessment-functional-skills/initial-assessment. [accessed 14/11/19].

Guptill, A.L. (2014) Rendering in Pen and Ink: The Classic Book on Pen and Ink Techniques for Artists, Illustrators, Architects, and Designers. Watson-Guptill; 60th Anniversary ed. Edition.

Hartley, P. and Dawson, M. (2010) Success in groupwork. Basingstoke: Palgrave Macmillan. (Pocket study skills).

Miller, G.A. (1956) The magical number of seven, plus or minus two: Some limits on our capacity for processing information. Psychological Review, 63, 81-97.

Seethamraju, R. and Borman, M. (2009) Influence of group formation choices on academic performance. Assessment and Evaluation in Higher Education 34(1).


Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Cambridge, MA: Harvard University Press.

Wheelan, S. A. (2009) Group size, group development, and group productivity. Small Group Research 40(2).

Tuesday, November 5, 2019

Teaching Drawing


Teaching drawing can be daunting, mostly due to our preconceived ideas of what drawing is. My course, ‘Exploring Drawing and Illustration’ has a strong emphasis on the ‘exploring’ part of the title.

Within the sessions learners explore drawing techniques. There is a focus on ensuring that learners understand the techniques, and the processes attached to them. Time is also taken to explore artists, analysing and applying their practices to the learners’ own work and exploring materials to create new, original works (Anderson and Krathwohl, 2001). I believe that it is only through this tri-exploration, which has parallels to Aristotle’s’ ideas around; theoria (thinking), poiesis (making), and praxis (doing) (Smith, 1999, 2011) that learners’ can engage in one unified process which allows them to develop their creative outcomes (Gadamer 1979).

Praxis takes place with the engagement in set drawing activities. Each designed to encourage learners start to explore drawing in new ways. By building on these techniques and using formative assessments, including peer and self-assessment, learners can master skills and develop their drawing (Bloom, 1971).



Drawing Activities:

Quick fire line drawing; creating a drawing of a still life with different line drawing techniques within short time periods of 30seconds, 1minute, 2minutes, 5minutes and 10minutes.


Doodling; inspired by Chris Riddell’s ‘A Doodle A Day’ (Riddell, 2015), learners are asked to complete six doodles without a direct reference point; a house, a crowd of people, flowers, a dog, a cup cake and a fish on a bike.


Drawing without a pencil; using tape or sting to execute line drawings allows learners to become freer in their drawing – and can be particularly beneficial when working with continuous line, as the materiality lends itself to be continuous, unlike a pencil which is easily took off a page.


Grid drawing; allowing learners to concentrate on sections of imagery for 1:1 scale drawing and increased scale drawings.




Large scale group drawing; taking away the hones of being the sole artist of a piece of art.




The engagement in praxis allows the learners to develop a critical awareness of their own art practice, allowing for doing and reflection to take place at the same time. Letting learners to analyses their actions and make alterations in real-time. This results in progress being made. This has clear links to Kolb’s’ experiential learning cycle of; doing, reviewing, learning, planning (1984).

While there are benefits in each of Aristotle’s categories, there is definitely something to be said about just ‘doing’ as a means of research and reflection that I find particularly conductive of learning and that sit alongside pedagogical theories of learning, such as Dale’s Cone of Experience, which in similar terms suggests that doing real things is a far superior way of learning, than say just reading about the subject (Dale, 1969). Creative subjects lend themselves well to this type of learning as so much of the session is taken up with the practical activities which embed this naturally.
To conclude, while teaching drawing can be daunting by drawing on educational pedagogies and finding the value in different types of knowledge the structure to teach the skill begins to fall into place.


References


Anderson, L.W., Krathwohl and Bloom, B.S. (2001) A taxonomy for learning, teaching, and assessinga revision of Bloom's taxonomy of educational objectives. Longman.

Bloom, B.S. (1971) Mastery Leaning. New York: Holt, Rinehart & Winston.

Dale, E. (1969) Audiovisual Methods in Teaching. 1969, NY: Dryden Press.

Gadamer, H-G. (1979). Truth and Method. London: Sheed and Ward.

Kolb, D. A. (1984) Experiential Learning. Englewood Cliffs, NJ. Prentice Hall.

Riddell, C. (2015) A Doodle a Day. Macmillan Children's Books; Main Market edition.

Smith, M. K. (1999, 2011) What is praxis? Encyclopaedia of Informal Education. [accessed 27/11/19].

Sunday, October 27, 2019

The Road Sign Collection: Types of sign


As I start to grow the Road Sign Collection. One of the first things that has started to become apparent is that there are different types of opposing sign categories within the sign collection.

Temporary / Permanent
Image / Text / Image and Text
Black and White / Colour
Triangle / Circle / Square / Rectangle

As I move forward, I feel that I need to decide on which category I am most engaged with and want to develop further. It is the contrasting temporary / permanent which draws me in the most, as within my art practice I usually work with the temporary.



I am partly interested in temporary art as my practice is very much concerned with creating work which exists for a limited time (Owens, 1998). This also allows me to explore the absence of the art once it has been uninstalled (Doherty, 2015). I feel that there is a real-life parallel with temporary road signs once they are removed from the site. Once removed, is the feeling of absence felt here too? Due to this they also carry a feeling of now-ness (Hayward, 2004). They are in this site right now, for a very time specific reason. Due to the context of the sign and the context the site, the sign would no longer make sense if it existed longer than necessary.



The permanent signs lose these characteristics, as the intention of them is to stay in place and due to this they start to become less interesting to me. However, I also have an interest in the everyday and placing attention onto thing which are usually overlooked. The permanent signs are less obvious than the temporary ones and so this brings me back to them. There is also more variety in the signs which fall into the permanent category, possibly giving more scope for development.



I am also intrigued by, as mentioned in my previous blog, in the notion of multiples as originals (Judovitz, 1998) and this is something that I am more able to explore with the permanent signs.


With both sign categories there is a direct relationship between themselves and their context, the site of the signs gives the reader immediate access to them (Stiles and Selz, 2012, p.712) as all road signs draw on our shared public language (Wittgenstein in Kripke, 1984). The use of context helps the audience to understand the text, in a real-life situation this is particularly important with road signs as they are commenting on social contracts that we follow (Rousseau, 1998).


While I am still unable to decide which category to peruse, I know that I want to challenge this aspect of the signs by putting them into new sites. This will allow the text to have a dialogical relationship with new sites (Owens, 1998).

The other categories are less important in that I do not have control over them, in that I am taking them as I find them.


References 


Doherty, C. (2015) Public Art (Now): Out of Time, Out of Place. London: ART/BOOKS.

Hayward, K. (2004) City Limits: Crime, Consumer Culture and the Urban Experience. Routledge-Cavendish

Judovitz, D. (1998) Unpacking Duchamp: Art in Transit. University of California Press

Kripke, S. (1984) Wittgenstein Rules and Private Language. John Wiley & Sons; New Ed edition.

Owens, C. (1998) The Allegorical Impulse: Towards a Theory of Postmodernism. New York: Oxford Press.

Rousseau, J. J. (1998) The Social Contract. Wordsworth Editions.

Wednesday, October 23, 2019

The Road Sign Collection

The Road Sign Collection started by chance after an art walk during an art tutor CPD day run by NEAAT (Network of East Anglian Art Teachers). As a group we were instructed to walk around the Fine City of Norwich and document the walk with; photos, drawings, rubbings. During this walk, I photographed road signs. I was drawn to these due to the nature of my art practice, which is concerned with the relationship between text and site.

The choice may have also been influenced by my interest in what Duchamp calls the ‘unchoice’ (O’Doherty, 1986), with so many things to look at in a fine city and I am choosing to focus my attention on road signs. They struck me as ready-mades in a site-specific installation, something chaotic, yet powerful in their ability to direct traffic (Ranciere, 2009).

However, despite my initially drawing my attention, once the day had come to an end I promptly forgot about the signs.


During this time, I was teaching a short course titled, ‘Exploring Drawing and Illustration’, keep your eyes peeled for a future blog post ‘Teaching Drawing’ for more on this, with one of the weeks focusing on line drawing techniques - something that I am usually guilty of neglecting within my practice. However, covering this topic and seeing my learners’ outcomes – particularly their continuous line drawings, made me want to give it ago within my art practice. 


Working with the long-forgotten road sign photographs, I drew mostly continuous line drawing of the photographs using a drawing tablet and digital pen. I found, as my learners had hours earlier that it is much easier to tell someone not to take the pen off the page than it is to not take your pen off the page. However, I found the continuous line drawing outcomes felt more natural and so persevered.
I felt that once the pen was lifted from the page the aura of that piece of work is set (Benjamin, 2015) and that those drawing which contained broken lines lost their authenticity. Having a break in the line looks too considered, shows a pause in the process and takes away from the overall aesthetic of the sign. 


The intention is that each road sign drawing will be an original (Benjamin, 2015), with each only drawn once, in one continuous movement. There is some irony in this conversation about originals, as the signs themselves are of course not original, rather they are multiples of something mass-produced and largely used. What it is that makes them original is the lived experiences the sign has had (Benjamin, 2015), reflected in the condition of each sign. The more these road signs have been interacted with, the more damage they will suffer (Dezeuze, 2007). This is something that I wanted to ensure that I captured within the drawings, to allow each sign to be recognisable as a copy of the original sign, drawing on Judovitz's notion of originals as multiples of sorts (1998). 

Initially, this activity did not have a purpose beyond flexing my continuous line drawing skills. However, as I created the drawings, I started to see the potential for a new project. I started to explore the use of block fill colour to make them more reminiscent of the originals. I was undecided on the outcomes and continued to keep a version in which they remain as continuous line drawings.

The use of colour in the signs felt important to their ability to carry out their function successfully. I had to start to consider the readability of the sign and our temporal relationship with them (Foster, 1996). Without the colouring, there is a sense of unfamiliarity to them (Deleuze and Guattairi, 1987).


The more time that I spend with the road signs the more I start to consider placing them into a new context (Grosenick, 2002). The text is direct and to the point when it is within the original context.

Within my practice, I look to have public-facing outcomes and these signs lend themselves to be repositioned into a new context, away from the road. I look to explore what this does to our relationship with these signs that we encounter every day once they are put into an art context. This starts with turning them into drawings and will perhaps end in a gallery context, allowing this new cultural framework to change the context of the road signs (Kwon, 2002).



Reference

Benjamin, W. (2015) Illuminations. London: Penguin.

Deleuze, G.  and Guattairi, F. (1987) A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press.

Dezeuze, A. (2007) Tate Papers no.8: Blurring the Boundaries between Art and Life (in the Museum?). [online] http://www.tate.org.uk/research/publications/tate-papers/08/blurringboundaries-between-art-and-life-in-the-museum. [accessed 23/10/19].

Grosenick, U. (2002) Art Now. Taschen GmbH; 01 edition.

Judovitz, D. (1998) Unpacking Duchamp: Art in Transit. University of California Press

Kwon, M. (2002) One Place After Another: Site Specific Art and Locational Identity. The MIT Press: Cambridge Massachusetts and London, England.

Ranciere, J. (2009) The Future of the Image. London: Verso.