Form is one of the most important categories in the teaching of artistic drawing. Its origin and levels of complexity form a structure characterized – according to Paul Klee in The Thinking Eye – by interpretation of and relationship between the parts, whose process is essential to conceive the definitive character in which formation determines the form, different interaction modes bring about multiple forms.
The study of artistic drawing is based on the study and reflection of the form, which is subdivided into elements that describe its kinetic energy and spatial dimensions, tensions, and internal and external relationships, but that in its totality releases symbolism and expressivity; from it, arises an entire conceptual structure that allows developing any discourse on making.
Language, in its character of a mental construction that allows abstracting a concept associated with a particular object from reality, has never changed its way of dominating the identity of objects through the idea of form. Understanding it has to do with the determination of its properties, with diversity, and with shared essence. To see, to know how to see, involves learning to detain our eyes on the forms and their characteristics; it implicates the development of qualities and aptitudes of analysis and observation.
Thus, educational action in visual arts is conceived as a communicative relationship that makes references to previous knowledge and that does not cease in the physical limits of visual representation because it also has a cognitive nature that appeals to memory, time and graphic representation.
|Keywords:||Learning, Arts, Drawing|
Professor, Visual Arts Postgraduate Program, National School of Visual Arts, National Autonomous University of Mexico, México, DF, México, DF, Mexico
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