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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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