An Argument for the Improvement of Draftsmanship Training in University Level Fine Arts Programs, with Suggested Syllabus and Coursework
Open Access
- Author:
- McManus, Andrew
- Area of Honors:
- Letters, Arts, and Sciences (Abington)
- Degree:
- Bachelor of Arts
- Document Type:
- Thesis
- Thesis Supervisors:
- Bonnie Joy Levinthal, Thesis Supervisor
Bonnie Joy Levinthal, Thesis Supervisor
Yvonne Love, Thesis Honors Advisor - Keywords:
- drawing
draftsmanship
art - Abstract:
- The criteria for evaluating the value of a work of art have changed dramatically since the renaissance. Beauty and craftsmanship used to be a major part of what imparted value to an artwork, but now their importance has been eroded to the point that it they are optional or even actively discouraged. The modernist revolution resulted in their being replaced in large part by two things: the valuation of novelty, and the individualistic expression of the artist. The educational model of the French Academies was largely incompatible with modernist dogma, and it collapsed. The vacuum in professional art education was filled by the Bauhaus model, based upon studying the discrete elements of art, and constructing novel, self-expressive forms from scratch. This model persists as the overwhelming standard at current accredited schools. This has resulted in college art programs that largely disregard basic draftsmanship, which paradoxically undermines the stated goal of self-expression; how can a student communicate his message if that message relies on accurate drawing? It is also disturbing because it is not acceptable in any other discipline to routinely graduate students who are not proficient in the rudiments of their field. The ability to accurately represent nature has been a foundational skill and one of the primary goals throughout the entire history of the visual arts. Students provided with solid drawing skills and a sound theoretical grounding are better equipped to realize their full artistic potential. Strong draftsmanship, sound technique and theory should be included in the foundational training for university-level students of visual art, because they are the foundation of visual art. While excellent training in representational draftsmanship is available, it is largely confined to smaller, non-accredited institutions. This training is less accessible for potential students for financial and societal reasons. The gap needs to be bridged between the vast majority of university art students and access to training in representational draftsmanship, because even though the student might not want to create representational art an understanding and respect for draftsmanship and craft are necessary for a well-rounded education in the visual arts. The solution is to reintegrate and strengthen the extant basic draftsmanship training in college settings, and to equip students with techniques and theories that they can use in their work (even if it is highly conceptual and less reliant on representation). The sample course does this by teaching students the most powerful techniques of accuracy and illusion, addressing specific common weaknesses, and equipping students with self-critical problem solving skills. It is comprised of lectures, visual demonstrations, and practical application exercises. The course can be incorporated in whole or in part by educators. It can also be completed as an individual, or used as a reference.