设计素描教学与产品设计专业“适应性”初探

随着设计专业的发展,产品设计专业对素描教学提出新的定位要求。目前,设计素描教学与产品设计专业存在着适应性问题,这引发了我们对设计素描教学的重新思考,为此,本文提出设计素描要与产品设计专业特点相吻合的教学思路：根据产品设计专业的特点选取“适应”的教学内容和教学方法,使设计素描要以“设计”为主导,实现艺术性与科学性的完美同一。     

高职艺术设计专业“设计素描”课程教改实践探析

近年来,各大高职院校艺术设计专业经长期实践探索,已逐步构建起一套相对成熟的设计素描教学体系,但“设计素描”课程教学仍存在诸多问题。结合高职艺术设计专业“设计素描”课程教学中存在的问题,阐述了设计专业素描课程教学改革实践策略,旨在为促进高职设计素描教学实效性的提升。     

设计专业的素描教学探讨

设计素描作为艺术设计专业的基础课,是培养和训练学生造型能力的重要途径。教师要准确掌握艺术设计专业中素描教学的内涵,分析其特点,并依据创新教育和艺术教育的规律,从结构方式、明暗方式、装饰意味三个方面制定艺术设计专业的素描教学模式。要抓住“创意”这个核心,贯穿素描教学的全过程,不断提高学生观察力、想象力和创造力。     

浅谈设计素描的内涵与外延

设计素描近些年来在美术院校传统教学中是一个新重点。许多人至今沿用传统的素描基础训练方法进行教学，实际上脱离了本专业特点，限定了学生设计创新思维的发展。为此，笔者针对这一现象，结合设计专业需要，从设计素描的观念与目的、设计素描的造型意识、设计素描的思维创新三方面阐述了设计素描的深刻内涵与外延。     

浅谈设计素描教学

设计素描是艺术设计专业的设计基础课程,文章从为什么要画素描、现在所画的素描与高考前的素描有什么不同、设计素描要解决的问题三个方面浅谈了该课程的教学思路。让学生认识到设计专业对于设计素描的要求,不同于艺术性素描,设计素描是以协助设计项目进行,是一种辅助工具;训练“准设计师”基础技能为目的,为专业课而服务、为设计而服务的。     

工业设计专业的设计素描课程教学探讨

通过对工业设计专业基础课程的设计素描与传统素描进行的比较，分析了对于工业设计专业设计素描的重要性，并从设计素描的教学实践中归纳和总结了关于设计素描教学的一些心得和方法，包括：结构素描、设计素描中的光影、关于质感和细部表现等内容。     

如何培养素描的“设计”思维

设计素描的教学体系是随着艺术设计专业的发展而不断完善的,由于我国在长时间内对素描教学持有一种单一模式,所以,影响和阻碍了设计素描基础作用的发挥。根据现代设计的需求,在设计专业的素描基础课中应重视＂设计＂思维培养的方式方法。     

工艺专业素描教学探微

作为工艺专业的素描,它使用的是“DesignDrawing”这个概念,即“设计素描”。在这样的素描中,原有的艺术因素、性质发生了转化,已成了科学、技术、功能相结合的“技术文学”的范畴,在这样的素描中,功能意识、实用性、系统意识、结构意识被充分重视,从观察、感受、想象、创造、审美判断等环节中发展切合设计意念的造型表现的基本能力的素质。     

设计的未来从设计观念抓起——高校“设计素描”课程的改革与创新

“设计素描”是艺术设计专业的基础课程,该课程的教学既要系统、严格又要奉行开放的理念。本文分析了“设计素描”课程在我国相关院校开设的现状,并依据该课程教学的目的观提出了新的教学观念与可行的教学方式。     

艺术设计专业素描训练方法举隅

艺术设计专业的素描训练目的是培养学生的三维造型思考能力，造型组织能力及形态的复述能力。笔在教学实践中探索出结构素描，素描默写，素描“想角”以及素描临摹等适用于艺术设计专业的素描训练方法。     

高校建筑学专业钢笔画教学新探

钢笔画是建筑美术教育的重要课程。随着中国建筑设计行业的蓬勃发展,钢笔画教学在已往的基础上,要突破传统观念,求个性,有创新,探索新的教学手段与内容,更好地强化学生的钢笔画训练,并提高创造性思维能力,以适应时代的需要。     

George Wallis (1811–1891) and Ernest Beinfeld Havell (1861–1934): Juxtaposing Historical Perspectives on Nineteenth‐Century Drawing Books in England and India

Drawing books can be seen as a vital component to teaching and learning art. They serve as an excellent resource for understanding the historical context of teaching drawing. As the industrial revolution geared forward in the nineteenth century, drawing books became a crucial source for sharing and disseminating educational philosophies for the teaching of drawing as well as understanding artistic practices. Serving many informal and traditional educational contexts, drawing books can be seen as evidence of how people learned or were taught. Although many accounts of teaching of drawing are known, little is documented about the many drawing manuals developed by art educators in England and its colonies, specifically India. This article examines nineteenth‐century drawing books by George Wallis (1811–91) and Ernest Beinfeld Havell (1861–1934) and the subsequent influence of these books on art education in England and India. Through comparison between the different approaches of authoring these drawing books, one could argue that both Havell and Wallis pursued nationalistic and personal goals by juxtaposing the authoring styles of their books. It was evident that George Wallis’ authorship of his drawing books was grounded in his philosophy of education, appreciation for design education, and dedication to England. Havell's drawing books, on the other hand, attempted to provide students with the knowledge of Indian sculpture, architecture and painting thereby exposing them to India's artistic heritage as well as raising awareness about utilising Indian art as the basis of instruction at the Indian art schools as part of the larger Indian nationalist movement against British rule. Their histories cumulatively bring to print a specific account of drawing manuals used during the nineteenth century and their influence on the teaching and learning of drawing in England and India.     

Responding to children's drawings

This article aims to explore the issues that face primary school teachers when responding to children's drawings. Assessment in art and design is an ongoing concern for teachers with limited experience and confidence in the area and, although children's drawings continue to be a focus of much research, the question of what it is that teachers say to young children that has a positive impact on the development of their drawing is under-explored. The article aims to identify the components of what constitutes children's competence in observational drawing through a detailed analysis of a drawing made by a 6-year-old child. Connections between the teaching of drawing and the teaching of literacy are highlighted, and the article concludes that children who are able make confident representations of the visual world are better placed to express their own ideas, thoughts and experiences through art.     

How Drawing is Taught in Chinese Infant Schools

The benefits of drawing for children are wide‐ranging but are likely to be mediated by the art curriculum and other governmental guidance to teachers relevant to drawing/art. Furthermore, such statutory regulations vary between cultures, and therefore curricula represent an important influence on the cultural differences found in children's drawings. Previous articles on the teaching of drawing in Chinese schools have commented upon the emphasis placed on children copying from adult drawing models. However, a new art curriculum was implemented in Chinese infant schools (3–6‐year‐olds) in 2002, still in operation today, which instead places an emphasis on the children's enjoyment of drawing through making creative and expressive pictures from their imagination. This article describes the key objectives stated in the Chinese art curricula for infant schools. We also present an interview with a Chinese infant school teacher in which she provided in detail how the curriculum is typically applied to the teaching of drawing. The interview also provided some background context to why the curriculum was changed and to its delivery. The article comments on the pedagogical practices adopted, and comparisons are made with Western art education and, in particular, to the teaching of drawing/art in England for the same age group. Finally, we consider what implications the Chinese approach has for the ‘non‐interventionist’ approach to young children's drawing/art that is frequently found in Western art education.     

高校美术课素描教学必须转变教学观念

素描教学对培养高校大学生的艺术造型能力有着重要的意义。对素描教学的含义和素描教学历程作了简要回顾,对我国传统素描教学几大教学观点的误区进行了系统分析,对新时期的素描教学作了展望。为提高高校素描教学改革提洪了借鉴。     

论当代重彩画变革与高校美术教育新思考

当代重彩画是高校美术教学的重要组成部分,目前,中国各大美术学院在对当代重彩画在高校美术教育中的创新研究一直处于停滞水平,对历史传统更多的是继承而缺少突破和创新.当代重彩画的变革主要通过运用综合材料和技法来实现,但是当代重彩画的变革还没有引起高校美术教育部门的重视,大多还是分门别类,把材料和绘画分体教学,并没有意识到当代重彩画的变革能提高教学创新意识.为了满足当今社会多元文化的发展和培养创新型人才的需要,在教学中,教师结合当代重彩画特点,运用多元化教学方法,增强绘画的实用性和创新性,激发学生的学习兴趣,通过师生交流重新审视重彩画的特点,引导学生领略当代重彩画的文化内涵,提高学生的实践能力,有效推动了大学生综合素质的发展,指明高校艺术就业新方向,从而促进艺术市场的多元化.     

大学非美术专业美术教学问题研究

大学非美术专业学生的美术教育是提高学生的艺术素养、培养学生创造性思维的重要手段。做好大学非美术专业学生的美术教学工作,需要重视对学生美术鉴赏能力的培养,加强绘画技能技法以及设计制作能力的训练,要注重教学内容的实用性和针对性。     

产品表现技法课堂教学改革探索与实践

产品表现技法的课程改革主要从如下几方面进行探索与实践：由重效果图轻草图转变为重草图训练适当掌握效果图技法的教学观念;改变传统单一临摹效果图而采用多元的教学内容;把社会设计师引入课堂教学;表现技法与设计项目结合等。     

对“素描”的再认识

本针对现有的“素描”观念和认识,从各方面深入地分析“素描”的含义和作用,以及在发展的社会前提下提高对“素描”的理解,以解决我们今后美术发展的瓶颈问题。     

高职《机械制图》课程分层教学改革研究

《机械制图》是高职院校工科类专业学生基础必修课。本文针对高职学生现状,根据《机械制图》的课程特点,分析了该课程传统教学模式存在的弊端;提出在目前课时数不断压缩的情况下,应改变传统观念,着眼于学生学习能力的差异,职业兴趣的差异以及目标指向的差异,根据不同层次的学生,运用分层模块教学,从而达到制图教学的目的。