Art and Design A comprehensive guide for creative artists - Aaltodoc
Art and Design A comprehensive guide for creative artists - Aaltodoc
Art and Design A comprehensive guide for creative artists - Aaltodoc
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A lakeside<br />
Background<br />
l<strong>and</strong>scape<br />
showing three<br />
sections; the<br />
background,<br />
Middle ground<br />
middle ground<br />
<strong>and</strong> the<br />
<strong>for</strong>eground Foreground<br />
Accordingly, learners should be encouraged to draw a<br />
number of sketches with considerable emphasis laid on<br />
various outdoor scenes in order to improve their skills of<br />
drawing l<strong>and</strong>scapes.<br />
Besides, the process of drawing l<strong>and</strong>scapes—takes several<br />
days or hours to complete. Consequently, it is important to<br />
learn how to sketch quickly <strong>and</strong> catch the right moments;<br />
by representing parts which are worth the time. Identify<br />
a scenery, which will insinuate viewers. “People tend to<br />
prefer Savannah-like environments—open areas, scattered<br />
trees, water <strong>and</strong> uni<strong>for</strong>m grassiness—to other natural<br />
environments.” (Lidwell et al. 2010, 212)<br />
To sum up, Sullivan (2004, 7) asserts, “L<strong>and</strong>scape drawing<br />
is not the reproduction of nature. It is an expression of<br />
the emotions, sensations <strong>and</strong> feelings that the l<strong>and</strong>scape<br />
impresses on the artist.” Thus, we draw l<strong>and</strong>scapes to<br />
“underst<strong>and</strong>” them <strong>and</strong> to visualise them in a new way ...” As<br />
opposed to taking photographs.<br />
Drawing from imagination<br />
In the words of Dodson (2006, 6), “drawing with imagination<br />
takes a broad look at ... fantasy images. It can mean<br />
distorting, abstracting or simply doodling. And drawing<br />
from memory—involves making <strong>creative</strong> choices about the<br />
things you choose to draw.” That is to say, by drawing from<br />
memory the artist recalls some real images captured by the<br />
brain long-ago, some of them can be included in the sketch.<br />
Other than that, drawing from imagination has got a bearing<br />
on untrue or invention stories, which may be fictitious.<br />
The Ug<strong>and</strong>a Advanced Certificate of Education, Regulations<br />
<strong>and</strong> Syllabuses, 2009 – 2012 (Ug<strong>and</strong>a National Examinations<br />
Board, 2008, 223) is full of excellent expectations: It provides<br />
educative awareness <strong>and</strong> expectations to learners who take<br />
on tasks concerning imaginative composition that they are<br />
supposed “to discover <strong>and</strong> effectively portray visually, in<br />
pictorial <strong>for</strong>m the true subject of the set topic.” Also, learners<br />
are expected to show they're underst<strong>and</strong>ing <strong>and</strong> “potentials<br />
of intelligent use of colour as an element of art.”<br />
Certainly, every one of us has <strong>for</strong> once drawn from<br />
imagination. In Jenkins (1980, 46) Imaginary Worlds, “... the<br />
child is encouraged to draw or paint the people, animals<br />
or plant life of an imaginary l<strong>and</strong> ... initiated by verbal<br />
discussions ..., or a <strong>guide</strong>d visualisation.”<br />
That is to say, having drawn from imagination—once upon<br />
a time, learners should as well be encouraged to continue<br />
making artworks of drawing <strong>and</strong> painting in a similar<br />
manner. Drawings made from imagination rather than<br />
observation can also be accomplished in the same way—<br />
from a feeling of certainty, perception <strong>and</strong> motivation about<br />
real life situations or from existing inspirational life styles<br />
with in our own surroundings. For example cartoons.<br />
In a simultaneous way, drawing from imagination<br />
can equally be done in abstract (art) approaches <strong>and</strong><br />
procedures. It is from such challenges that learners will<br />
attain skills of testing their drawing abilities. Jenkins<br />
(1980, 46) concurs with a written matter of opinion. What<br />
If/Just Suppose Questions; “... what if insects were larger<br />
than people? Or cows were the size of cats? Or the sun<br />
shone all night? Or children were giants <strong>and</strong> parents were<br />
midgets?” Evidently then, learners will not be cheated of the<br />
opportunity to think <strong>creative</strong>ly.<br />
In agreement with Ashwin (1982, 120) “imaginative drawing<br />
is concerned with making some kind of record from<br />
a situation,” such can be a cultural show, “events” you<br />
attended recently or “seen <strong>and</strong> experienced in the past.”<br />
We can conclude from this that drawing from imagination<br />
does not only refer to finding new options of representing<br />
fantasy artworks <strong>and</strong> designs. Since, “to imagine” in a literal<br />
manner “means to create a mental image.” (Ashwin 1982, 120)<br />
In essence, <strong>creative</strong> <strong>artists</strong> especially learners must be<br />
encouraged to compose <strong>and</strong> draw wonderful mental<br />
pictures which may be adequately needed <strong>for</strong> other artistic<br />
works like paintings, cartoons, illustrations <strong>and</strong> sculpture.<br />
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