DRAWING, A LOGICAL APPROACH
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| Study of simple shapes in Complex form Richard Grazzi circa 1987 |
In the 1940's Edward Kaminski taught drawing and
photography at The Art Center College of Design.
His 1949 book, Drawing, a Logical
Approach documented his principles for learning how to create any 3D form based on a thorough understanding of the drawing and lighting theories for
primary basic shapes. The methodology assumed that if one understood the nature of light on primary forms, that one could
then learn to create more complex form through understanding of the underlying arrangement of primary forms beneath. This modernist approach of seeing abstract pure geometric forms as
the model of understanding any other form was fundamentally different from the approach of most art schools at the time which typically began their foundation with the European tradition
of drawing human form through study of plaster models of famous statues in western art accompanied by
lectures about the perceptual approach of the artist and its relevance to
contemporary social changes throughout history.
Studying how artificial light defined 3D form then became the consistent method of perceptual foundation at Art Center. Whether a student was studying photography, illustration or industrial design they could be found in their earliest classes gathered around a set of model basic shapes in white with a spot light investigating why they were seeing what was before them. By studying white shapes against a white background students developed a high level of sensitivity to the composition and relative contrast of the lit surfaces.
To complement the study of lighting Art Center students also developed their understanding of the language of visual perception in rigorous perspective classes.
Kaminski passed on his methods to Ted Youngkin and others that went on to share the same approach to generations of Art Center designers. For those in the know- this has been a critical component of the Art Center difference. For that reason it is still an important component of the first semester in Grad ID.
I have been teaching Industrial Design students with an evolved version of Kaminski's methods since1984.
After learning of Kaminski's work I have assigned one of his original drawing projects as a final project for our first semester visualization class . An example is above.
Kaminski's book which is a bit difficult to find for purchase can be found in the Art Center Library.
Studying how artificial light defined 3D form then became the consistent method of perceptual foundation at Art Center. Whether a student was studying photography, illustration or industrial design they could be found in their earliest classes gathered around a set of model basic shapes in white with a spot light investigating why they were seeing what was before them. By studying white shapes against a white background students developed a high level of sensitivity to the composition and relative contrast of the lit surfaces.
To complement the study of lighting Art Center students also developed their understanding of the language of visual perception in rigorous perspective classes.
Kaminski passed on his methods to Ted Youngkin and others that went on to share the same approach to generations of Art Center designers. For those in the know- this has been a critical component of the Art Center difference. For that reason it is still an important component of the first semester in Grad ID.
I have been teaching Industrial Design students with an evolved version of Kaminski's methods since1984.
After learning of Kaminski's work I have assigned one of his original drawing projects as a final project for our first semester visualization class . An example is above.
Kaminski's book which is a bit difficult to find for purchase can be found in the Art Center Library.
