We live in a digital age. For teachers the Internet is awash with ideas, lesson plans, didactic advice and useful resources. I also contribute to this chaotic library of material by posting to this blog. The challenge is often simply keeping some sort of order to it all, the sites, the Facebook posts, Twitter links and so on.
It is sometimes with some relief that, sitting at home, I can reach for book from my bookshelf and flick through the pages looking for the germ of an idea that could be used in one of my lessons. It was just this sort of occasion that lead me recently to pick up one of my all-time favourite books on the subject of drawing, Experimental Drawing by Robert Kaupelis. It is a fantastic book. It’s not aimed at any particular age group or situation but supplies a wealth of ideas that can be turned and manipulated for a variety of situations. On page 106 is a particular favourite of mine, it involves making a tonal drawing of a face that has been distorted through the use of an irregular grid being applied to an original portrait image.
I’ve used it recently with two classes of fourteen and fifteen year olds that I teach. As far as I was concerned, the main technical aim of the assignment was to get the pupils experimenting with the full range of tones that a 2B pencil offers. They enjoy the idea of working with a portrait, although it should also be said that they are slightly intimidated by it as well. This is where Kaupelis’ idea of distortion is a bonus. It offers a degree of freedom and a step away from their own drawing having to ‘look’ like the original.
The initial challenge of stretching and compressing the face looks initially to be quite complex. The face element that is originally framed neatly in a square box has to be stretched and distorted in order for it to occupy maybe a thin rhomboid form. I think it is fair to say that the more mathematically minded in the class seem to relish the challenge. Maybe it’s less intuitive, but perhaps that is what they often find difficult in the art room.
Once he basic deformation is in place, with particular attention paid to those crucial zones containing the eyes, nose and mouth it’s then over to the shading and tonal work. For me it is all about pushing the pupils to work to extremes of contrast, they are often reluctant to use the full range in their drawings from the darkest a pencil allows right up to the pure white of the paper.
The results of working in this way can be fantastic and it is great to observe a class at the end of a couple of lessons standing back and glowing amongst themselves in the level of achievement that they feel that they have reached! Documented here is a set of drawings produced by one of my classes this month. The following challenge is to take the same degree of accuracy and tonal work into an assignment where they work from life, instead of a two-dimensional source.
I have in the past also used the same construction to produce a class group project where everyone produces a section of the deformed image before they are finally reassembled for a larger scale face.
Incidentally, the face images that I used for both the small and the large versions are all those of Chuck Close’s ‘heads’, which offer a readymade chance to dip into a little art historical lesson element, and indeed how artists (an others) can deal with the challenges of physical disability.