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This inquiry examines the relationship between studio drawing instruction and art theory, by reviewing practical and theoretical art books, questioning peers, and conducting a focus group encounter. The resulting data, interpreted in light of 25 years of teaching experience, suggests that the chronology of exercises in all the reviewed drawing texts encourages a widespread use of outlining at the expense of a concentration on rendering mass and volume. / In response to changing demands on art teachers, the author proposes an outline for an updated studio drawing manual which synthesizes theory and practice by addressing compatible themes, and proposes a chronology of effective exercises which enhance student understanding and capacity to render volume and mass. The author concludes that the field of teaching drawing can be expanded to reflect visual, spiritual and ethical concerns, and that reestablishing the primacy of the visual to the teaching of the visual arts is best achieved in a hospitable setting where the standards and validity of the discipline can be established according to visual criteria, and not remote theory.

This is practice-based research about glass art, undertaken by an artist specialising in the lampworking technique. Over many centuries, lampworking has been widely used for scientific, industrial and craft purposes. In the early 1990s, there was a notable shift where traditional lampworking began merging with contemporary glass art, but there is still room for further development. The research focus is line-making through lampworking. Building upon Hoyt (1989), who determined the fundamental procedures in lampworking, this research identifies five operations relating to line-making: ‘bending’, ‘stretching’, ‘thickening’, ‘adding’ and ‘tooling’. Before this research, these techniques were already well practised in traditional lampwork training. However, they were recognised as only basics to construct larger pieces, and line-making itself did not gain real attention. Neither has the theoretical concept of making lines in glass been discussed enough. This research re-examines each of these operations and searches for dormant possibilities to exploit for artistic expression. The significance of glass lines is discussed in comparison to other line-making techniques and media in visual art. The taxonomy of lines advocated by Ingold (2007) is referred to as a guide for deeper exploration in this field. The investigation highlights the unique material feature of glass and contributes the idea of ’spatial traces’ and ‘projected lines’ to the discussion. A series of artworks is subsequently made to demonstrate and evaluate the research outcomes. The particular innovation generated by this research is the development of ‘calligraphic lampworking’, which is technically an extension of the ‘stretching’ operation. The act of stretching molten glass is observed to be comparable to ink calligraphy, in that they both leave a trace of movement. The distinctive difference is that the strokes of calligraphic lampworking are spatially liberated, whereas those of ink calligraphy are confined to the plane of a two-dimensional surface. The ‘multi-dimensionality’ of glass lines is also theoretically explored and discussed in terms of the glass’s clarity, reflections and shadows.

The creative project consisted of ten drawings, as well as research, documentation, and written evaluation. These drawings involved the surface manipulation of elements, physical and implied, within the two-dimensional plane.The drawings evolved from relatively conventional methods utilizing non-traditional materials to more experimental processes employing traditional media. A very strong emphasis was placed on the development of appropriate geometric and bio-morphic, plastic elements. The actual process of drawing was give primary focus in the refinement of style.This creative project provided many new insights into the manipulative properties of various materials upon the imaged surface.

This creative project is an attempt towards developing a self teaching device in the area of linear measurements, which gives an immediate response. The primary purpose of the project is that of facilitating learning in basic linear measurements. This was accomplished through the use and construction of a teaching device that will operate in much the same manner as a teaching machine or a programmed text.Three linear measurement device created is an electrically operated punchboard type device which the student operates by himself. An entire program of instruction cards and sequential key coded plastic panels are developed for a fractional measurements learning situation.

The objective of this creative project was to see if Pop Surrealism appeals to a larger cross-section of culture and could be integrated into the fine arts. This study involved creating a series of drawings utilizing a wide range of optical and thematic devices to expand my visual vocabulary. The evidence suggests that the visual knowledge of our culture has expanded through mass media. In the 1800's, Stendhal Syndrome affected a cross-section of America. The illness was incurred by overexposure of visual stimuli resulting with the victim vomiting and passing out. The people's adaptation has lessened the syndrome to almost nonexistence. Pop Surrealism is the amalgamation of Pop Art, Surrealism, and cartoons. The drawings were an exploration of visual and technical applications. The study also included a search for the history and acceptance of techniques and media. / Department of Art

This study investigated the effectiveness of three drawing aids, the photograph, the glass plane, and the mirror, for use by students working with three-dimensional space representation.Four groups of eight students each were formed from two classes of AED-100 (Drawing and Painting). They were freshman, sophomore, junior, and senior students, all of whom were non-art majors enrolled at Ball State University.Students in each of three experimental groups worked with a drawing aid, and students in a control group worked under the same studio-lab conditions but without aids. During the experiment, each student worked individually and completed a total of five drawings of two different still-life models. The models were simple three dimensional forms painted different shades of gray forbetter visibility.The general objectives of the research were related to the experimenter's expectancy that he would arrive at a -better understanding of the drawing process through the experience of observation and reflection during, as well as after the completion of, the experiment. This was the "soft" research and was the part ". . . conceived of by him whom it (was) not conceived of . . ." as mentioned in the Kena-Upanishad (D. T. Suzuki, Zen Buddhism, 1956). More specifically, the research was directed toward four major objectives:1. the use and evaluation of a particular application of the drawing aids, along with a comparison of the effectiveness of the aids in teaching perspective drawing,2. the rating of the instructional aids by comparison of gains within and between experimental categories,3. the investigation of whether or not participation in the experiment noticeably influenced student preference for Renaissance linear perspective, and4. the evaluation of the drawing experiment from the student's point of view through an interview.The findings of the study follow:1. The control group working without technical aids improved the most on the drawing task. This was true when the student was compared to all others in the study and when his pre-test was compared to his post-test drawing.2. Of the three aids tested in this study, the glass plane was the most helpful. The students in this group showed the most improvement when compared to all others using aids as well as when each individual's pre-test was compared to his post-test drawing.3. The students found the glass plane and mirror techniques easiest to learn.4. The mirror and glass plane appear to be useful aids for demonstrating 5. This study indicates that the students who looked at the model directly and simply drew did better than those who used the three aids. Therefore, it was concluded that the drawing aids as used in the context of this study were of no benefit.6. The study suggests novelty, surprise, freshness, and the feeling of doing something significant are conducive to drawing improvement.7. The attitudes of the students toward the study were positive. Students were highly motivated and interested in improving their drawing competencies. The investigator believes that the circumstances of this study would be ideal "routine" conditions for teaching and learning in art.8. Participation in the experiment did not noticeably influence student preference for Renaissance linear perspective.9. In exploring student preferences for drawing styles, a general preference for linear perspective was indicated when sixty-two percent of the students' choices were in favor of linear perspective and thirty-eight percent in favor of distorted perspective.10. The variation of responses found in relation to "standardized directions" along with the students' inability to describe a troublesome ellipse problem suggest a relationship between descriptive verbal ability, perception and drawing ability--a relationship worth more investigation.The researcher believes the three drawing aids investigated in this study might be valuable in the regular classroom for direct instructional purposes. The experimenter noted many "openings" for instruction while students worked in the lab. It is possible that the drawing aids would be useful in clarifying a student's problems in drawing, thus enabling the instructor to be of assistance.As for the open-ended aspect of this research, the investigator's notions of "arriving at a better understanding of the drawing process by way of reflection and observation"--it can be said that this was achieved, in part. Although "The butterfly flits from branch to branch With the changing of the breeze."—Anonymous

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The process drawing is defined as a constant meandering between the consciousness or hunch towards an object and the concept of understanding or rationalizing that object. This falls back to a search for form submitting to critical reflection including both intuition and analysis. With Process Drawing, this reflection initially comes from an ideal conception as opposed to a pragmatic idea. In such a way that during the design discourse a functional brief is replaced by a series of self-inflicted design instructions moving the mind further and further away from 'the familiar'. For a brief moment, the ideal exists only in the drawing, the model, or any other artefact produced, free from concept, free from pragmatic application yet aiming towards the discovery of a new program or new application.