From the Introduction [ page 2 ]

Over the years, I have personally reviewed and purchased shelves of books in an effort to inform my teaching. While many of these texts are well-written and somewhat helpful, they do not address the many facets of instructor preparation and forethought, such as preparing syllabi and other significant classroom documents, establishing a desirable classroom environment, various methods for conducting group and individual critiques, diagnosing problems in student work, handling difficult students or situations, and the etiquette of working with nude models. Many key studio experiences are either not addressed at all or are not satisfactorily fleshed out for the student or the instructor. Examples of this include the many applications of sighting and techniques for effectively presenting the process; meaningful methods and reasons for implementing line variation; scaling techniques for determining accurate size relationships of forms in illusionistic space; setting up and lighting an effective still life arrangement; presenting the Golden Section, the Fibonacci Series, and other organizational devices; methods for teaching essential perspective principles and their applications, and many more. My awareness of and frustration with these significant gaps in information inspired me to write The Art of Teaching Art.

The Art of Teaching Art answers the broadly recognized need for a text directed toward the training and preparation of college-level studio art instructors. It is primarily intended to address the needs of teachers in the formative stages of their academic career, but may also serve even the most seasoned instructors seeking affirmation or inspiration. It is a guide for teachers in effectively preparing for and communicating some of the most basic and vital information necessary for the development of students in both the fine arts and the applied arts. It is especially geared toward teachers who respect the classic model of drawing-based studio art education and seek guidance in their desire to be a significant and effective force in the classroom. This book reflects a collective belief that it is drawing that is the backbone of many forms of visual art, and it is drawing that is most often at the source of effective visual communication of ideas. Whether drawing is used as support for other forms of expression or as an end unto itself, it is an invaluable skill. Focusing on what is seen as a core concern in educating artists, The Art of Teaching Art addresses the fact that while many studio art faculty are employed based on their abilities or achievements as an artist, it is a mistake to assume that this ability naturally extends to the special skills required of an art teacher.

The Art of Teaching Art is organized into two parts. The first half of the book addresses fundamental drawing and design experiences that are necessary for a solid two-dimensional foundation experience grounded in visual literacy, visual acuity and eye-hand coordination. Drawing and related concepts, figure drawing, and perspective are addressed in depth, and numerous illustrations clarify the text with greater emphasis on student work as opposed to master’s work. My intention is to insure the instructor’s thorough awareness and understanding of key concepts and activities related to drawing and design as a vehicle for effectively communicating this information to students. The second half of the book focuses on aspects of teaching that support and nourish the directed experiences of the studio classroom. This information acknowledges the fact that there is a great deal involved in teaching beyond direct instruction in the classroom, and that considerable preparation and forethought is required in order to adequately meet the needs of students and the continuous challenges of teaching.