art/vision/voice - Maryland Institute College of Art
art/vision/voice - Maryland Institute College of Art
art/vision/voice - Maryland Institute College of Art
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Blind contour drawing is a drawing exercise <strong>of</strong>ten<br />
employed with inexperienced <strong>art</strong>ists to develop a<br />
connection between the eye and the hand and to<br />
eliminate the ongoing self-judgment that can<br />
intimidate beginning <strong>art</strong>ists. In this exercise, the<br />
p<strong>art</strong>icipant draws the outline <strong>of</strong> an object without<br />
looking down at the paper.<br />
case study: maryland institute <strong>of</strong> <strong>art</strong> 23<br />
cinder The three cap team leaders, and two other mica students serving<br />
as cap assistants, worked well together in planning and introducing<br />
an initial activity that was very successful. Each child was asked to<br />
design a coat <strong>of</strong> arms as a visual representation <strong>of</strong> his or her own<br />
individual identity. These mixed-media shields were eventually<br />
affixed to the covers <strong>of</strong> each child’s <strong>Art</strong> Club sketchbook. Following<br />
this project, the leaders struggled with how to take turns designing<br />
lesson plans and build a cohesive curriculum for the overall project.<br />
I knew it wouldn’t be easy, but I felt it would be healthy if they<br />
negotiated their own relationship and figured out how best to<br />
work together—with guidance from me as needed.<br />
tree There was a lot <strong>of</strong> disagreement about the next project. Mari and<br />
I wanted to do something tactile and “free,” but [the other leader] felt<br />
strongly that the kids should practice two-dimensional drawing skills<br />
before attempting something three-dimensional like clay. Mari and<br />
I were worried that drawing lessons might be a little scary for kids<br />
who had little or no previous experience with <strong>art</strong> in school.<br />
The third leader felt it was important to employ traditional teaching<br />
strategies and <strong>art</strong>-making techniques and materials. He objected to<br />
anything that hinted at “<strong>art</strong>s and crafts.” After some discussion, the group<br />
eventually agreed to implement his idea for a drawing project, which was<br />
conducted over several sessions and weeks. Because <strong>of</strong> the complex<br />
schedule <strong>of</strong> the team leadership, the leader who designed the project<br />
was rarely present to direct the exercises he had designed.<br />
tree He wanted the kids to work immediately from life by drawing each<br />
other’s faces. We compromised and decided to st<strong>art</strong> by having them<br />
draw an object on newsprint paper. We hoped this impermanent<br />
medium would alleviate the pressure to create something more formal.<br />
mari I think the drawing exercises were intimidating. When kids think<br />
about making <strong>art</strong>, they think <strong>of</strong> drawing or painting, and it can be<br />
scary. I think eleven to fourteen is a “realist” age—if a drawing doesn’t<br />
look like something very specific, they think it’s bad. The kids<br />
didn’t like the fact that they couldn’t get what they were drawing<br />
to look “right,” even when we introduced what we thought was a<br />
less threatening idea, like blind contour drawing.<br />
tree The blind contours confused and frustrated a lot <strong>of</strong> the kids. So<br />
we conducted a series <strong>of</strong> demonstrations to guide them through the<br />
process. We thought that many <strong>of</strong> the kids really “got it” and made<br />
really beautiful blind contour drawings. But the kids didn’t understand