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National Art Education Association Drawing the Line... Author(s): Pat Villeneuve Source: Art Education, Vol. 54, No. 6, Learning to Draw (Nov., 2001), p. 4 Published by: National Art Education Association Stable URL: http://www.jstor.org/stable/3193907 . Accessed: 15/06/2014 18:19 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to Art Education. http://www.jstor.org This content downloaded from 194.29.185.109 on Sun, 15 Jun 2014 18:19:24 PM All use subject to JSTOR Terms and Conditions

Learning to Draw || Drawing the Line

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National Art Education Association

Drawing the Line...Author(s): Pat VilleneuveSource: Art Education, Vol. 54, No. 6, Learning to Draw (Nov., 2001), p. 4Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193907 .

Accessed: 15/06/2014 18:19

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

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National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to ArtEducation.

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Page 2: Learning to Draw || Drawing the Line

DNT HAVE MUCH IN THE WAY OF ART IDIDN'I HAVE MUCH IN THE WAY OF ART

classes in elementary school. Occasionally, on Friday afternoon, the classroom teacher would pass out paper and tell us to draw. "But what should

we draw?," the students inevitably demanded. "Draw whatever you want." "But I don't know what to draw," we responded in chorus. Exasperated, the teacher would then assign a topic. One day she said, "It's winter. Draw a winter scene." "But what should we draw?..." Getting no help from our frustrated teacher, we looked around to get ideas from each other or to see what Michelle, the class artist, was drawing. Eventually, the teacher made the rounds and stopped to exclaim, "Nice work, Kevin. You have so much detail! You even remembered to put buckles on the boy's boots." Ears perked at the clue. Instantly, every student in the room added buckles and other details to their drawings, but the teacher had nothing to say to the rest of us. I remember wondering why this activity was considered art class: Even at 11, I knew I wasn't learning anything that would improve my drawings.

In high school, I at last received the desired instruction in drawing and other media. I remember a particular pen-and-ink drawing activity. I fulfilled the teacher's requirements, but something seemed missing from my final project. I received a "B" and looked enviously at Deb's "A" drawing displayed in the case in the hall. Yes, I had to admit that it was better than mine, but how-and why? I knew I could not express what she had depicted in her drawing-and I did not want to live the terrifying experience on her paper-but somehow I still felt cheated. I had done what my art teacher said. How come I couldn't draw like that... why didn't I get an "A"? And if that was the best I could do, should I even sign up for Art III?...

We all have experience with drawing class-some positive, some negative. Many of us teach the class, and some have strong feelings about content and approach. The first three articles in this diverse issue focus on drawing. Jean Morman Unsworth responds to Paul Duncum (1999), offering her perspective on the topic.

Lie Line... Jay Berkowitz and Todd Packer suggest we enliven the drawing class with the study of comic books, and Mary Hafeli examines the difference between an art teacher's objectives and student assumptions about hidden criteria. The Lowenfeld lecture, delivered at the 2001 NAEA conference by award recipient Judith Burton, offers a critical examination of Viktor Lowenfeld's developmental theory. There is much here that relates to drawing, as well. It was fascinating for me to read the articles and reflect upon the similarities and differences among them. As in so many issues of this journal, the articles underscore the range of practice and passions in our field.

The Instructional Resource, by Karla Primosch and Kathy David, addresses the art and culture of the Huichol people in northwestern Mexico. The last article, by Michael Prater, looks at technology and the constructivist art curriculum. I am including it at this time in anticipation of the NAEA Research Commission's upcoming focus on technology.

As you read the articles in this issue, I ask that you think back to your experiences in drawing classes. What were the high points and the low, the joys and frustrations? How do your experiences inform what you teach in the drawing class or elsewhere? What do we want for our students, and what do they need? How should we teach students to draw? And can we do it while maintaining their enthusiasm for art?

Pat Villeneuve Editor

Pat Villeneuve is affiliated with the University of Kansas and Arizona State University. She has been a member of the museum education division since 1985. E-mail: patv@falcon. cc. ukans. edu

REFERENCE Duncum, P. (1999). What elementary generalist teachers need to

know to teach art well. Art Education, 52 (6), 33-37.

ART EDUCATION / NOVEMBER 2001

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