THINKING THROUGH DRAWING: PRACTICE INTO KNOWLEDGE

THINKING THROUGH DRAWING: PRACTICE INTO KNOWLEDGE 29

simon betts

ately avoided individual units that focused on a spe-
cific language of drawing, for example “tone”, “line”,
“composition” “perspective”, and we also took the
decision that individual units should not explicitly
refer to culturally specific or historical subject mat-
ter (for example, “life drawing” or “drawing from
still-life”). We argued that the reliance on a subject
matter driven curriculum could reinforce certain
perceptions held by students and tutors alike that
would run counter to our view of the democracy of
drawing. We wanted the qualification to reinforce
that subject matter could come from the students
wherever possible, and more importantly, any unit
could be mapped against any subject matter.
A good example of this is life drawing. Fol-
lowing completion and introduction of the quali-
fications, one college in London demanded a
life-drawing unit. Professor Stephen Farthing and
I argued that the qualification did not preclude or
diminish life drawing, but that what these individ-
ual units offered was the opportunity to scrutinize
and question the life figure anew. For example, what
kind of observation and understanding could come
from using the life model alongside, for example,
our Drawing and Mapping unit?
As authors, we saw this as an opportunity to
write and develop a truly cross-disciplinary drawing
course that would promote the purpose of draw-
ing, encourage innovative drawing pedagogy, and
establish the principle of learning through drawing,
while simultaneously underpinning core transfer-
able drawing principles of observation, analysis,
recording, research and contextual understand-
ing. Finally, and most importantly, we wanted to
encourage, for a wide range of students, the pure joy
of drawing.
So we began by creating a list of uses and appli-
cations for drawing across a range of disciplines and
this list became the individual unit titles. Working
from UK national qualification guidelines, we then
developed an aim, learning outcomes and assess-
ment criteria for each unit.

The Units
I will go through each unit to illuminate their
core aims. To clarify, these units were designed for
14-19-year-old students. What I do want to empha-
size here is that every unit has learning outcomes
that focus on contextual understanding. We insisted
that students research contemporary and/or histori-
cal contexts as part of their work as we believe this

would lead to greater knowledge and understanding

of drawing.

Drawing materials and processes encourages

the exploration of a wide range of drawing materi-

als and processes, and the use of both traditional

and non-traditional materials is encouraged. An

open-minded approach is sought and students are

encouraged to look beyond what is possible in the

class or studio to scope a greater awareness of mate-

riality and process.

Drawing and measurement. The use of appro-

priate systems of measurement, and accuracy of

recording from observation underpins this core

unit. Suggested learning comes via drawing from

direct observation, for example, life drawing, archi-

tecture, landscape or large interiors. This unit has

applications for any discipline involved with obser-

vational accuracy including architecture and engi-

neering.

Drawing with light explores the role that light

and dark plays in making images visible within

drawing. Along with hand-made tonal drawings the

use of photography can be explored via the pin-hole

camera. This unit could be used by students of pho-

tography, film-making, theatre and painting.

Drawing and writing encourages students to be

open-minded in exploring and understanding how

words and letters on the 2D surface relate to each

other and to images. This includes the exploration

of ancient scripts and ornamental texts, a compara-

tive exploration of pictograms and hieroglyphics.

Investigations into concrete poetry and artists such

as Cy Twombley and Mary Kelly might be included.

Hand-made drawing and the use of digital media

can be explored in students’ drawings.

Drawing as communication supports cross-

disciplinary drawing in graphic design, animation,

illustration, fine art and architecture. It explores

signs and symbols from diverse cultures, and draw-

ings from observation of signs and symbols found

in road signs and flat-pack instructions. Students

evaluate how and why signs and symbols precisely

communicate.

Drawing for research. Central to this unit is the

exploration and investigation of information, ideas,

and research sources that encourage the learner to

become competent in visual evaluation. It explores

drawing as a research tool. Working from historical

and contemporary sources the students are able to

evaluate ideas and information, and apply research

skills and methods in developing their own ideas.