October 21, 2015

Teaching Drawing

Rondall Reynoso

IMG_1230I’ve been teaching art in college for several years now. On the first day of class, I always tell students that the way they learn in an art class is very different from how they learn in a lecture class. Rather than giving the student the information up front and asking them to remember and synthesize it, they are given a problem and asked to solve it. So, for example, if they are given a still life to draw but they aren’t told how to draw it. It is simply put in front of them and they do the best they can. At the end of an assignment is the all important critique where we discuss how they did, what was effective, and if there are other things they could have done to make the work more successful.

I fully admit that this can be frustrating for students. Students today are afraid to fail. They always expect guides for their tests and to simply be given an assignment with little instruction and wide latitude can be unnerving. So, why do I teach this way if it can be unnerving to students? Simply put, it works.

IMG_1231On the first day of class, I also tend to talk about what I call the pedagogical benefit of confusion. There was a study done that showed two groups of students two different instructional videos. One was very clearly laid out and organized the other was a bit more obtuse. The students who watched the first video felt that they had a good grasp of the information while the second group felt less certain. But, when they were tested it was the second group that better understood the information. Why? The second group had to mentally wrestle with the lecture to try to comprehend it while the first felt fine with the digested material simply being delivered to them. This is what we do in a drawing class. The students wrestle with the problem and in the process, they gain a greater understanding.

The other thing that happens is that students get emotionally invested in their work. Emotion is a good thing in education. Passion is important. Possibly the most dynamic learning experience in a project is the critique. It happens after the student has already been emotionally engaged. This helps the student to get the greatest amount of impact out of the process.

IMG_1232What students often don’t understand is that the most important thing they will learn in drawing class is not the technical skills of putting pencil or charcoal on paper but the intellectual discipline of looking. As a result, I tend to spend very little time on technical instruction. I provide technical instruction on an individual basis; but, I make assignments that help them to develop different skills and allow them a great deal of freedom in problem-solving.

A year or two into my teaching career, I had a few students complain that they weren’t learning anything. I, of course, knew that they were, but they just weren’t realizing it. So, I decided half-way through the semester to give the students the exact same still life that they had on the first day of class. I had them bring in both their first drawing and their most recent drawing so that they and the class could see the progress. It was really interesting to see the reaction of the students when they realized how much they had learned halfway through the semester. The images in this post are a couple of examples from a drawing class I taught at William Jessup University in the Spring 2014 semester.

IMG_1233But, my classes aren’t just about technical drawing, they are about creativity. They are about vision. You can see how much more dynamic the second compositions are. Students often ask how realistic the work needs to be. I always tell them that the still-life is a starting point. The objective is to create a piece of art that works. Some students, such as the one on the left, choose to create more abstractly. I enjoy the individual creativity that each student brings to the work. But equally, I enjoy not having to assure students that they are actually learning something. They see it for themselves.


Rondall Reynoso

Rondall is an artist, scholar, and speaker. He is currently an Assistant Professor at Lee University in Cleveland, TN. He holds an MFA in Painting and an MS in Art History from Pratt Institute in Brooklyn, NY and is completing a Ph.D. in Art History and Aesthetics from the Graduate Theological Union in Berkeley, CA.

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