Art School Portfolio Critique by a RISD Art Professor
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- čas přidán 3. 05. 2016
- Hear a detailed critique of an art school portfolio, explaining aspects of the entire art school portfolio and artworks are working well, and concrete strategies for how to make progress. Critique by RISD Adjunct Professor Clara Lieu.
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Clara Lieu was an Adjunct Professor at the Rhode Island School of Design from 2007-2020. Her artwork has been exhibited at the International Print Center NY, the Currier Museum, Childs Gallery, the Davis Museum, and more. Lieu received an artist fellowship from the MA Cultural Council, has written for the NY Times, and lectured at Brown University, the NAEA conference, and in Vancouver & China. She has been profiled in Artsy, Hyperallergic, KPCC, & WBUR.
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I’m currently fifteen and entering my junior year, and I’m really hoping to get into MCAD. Thanks for making these videos, they really help me with setting my standards higher when it comes to my art as well as inspiring me to break out of my comfort zone a bit.
That's great to hear! Check out the courses section on our main site, there are many more videos that can teach you more techniques and provide project prompts for your portfolio: artprof.org/courses/
GOOD LUCK
You got this!!!
For someone who is planning to go to RISD, these videos are extremely helpful!
Glad to hear it! I highly recommend checking out our free Art School Portfolios course on Artprof.org for more in depth help! artprof.org/courses/art-school-portfolio/
I really liked the 2 hand drawings as pop art, but otherwise I agree with cropping and backgrounds for still lives. Those two seem stylistically justified to me. Everything in moderation, even moderation.
Thanks for sharing your thoughts! We have many more critique videos on our main site: artprof.org/critiques/
I absolutely love the floating hands! Very "The Thing" From of course The Addams Family...So cool
Yes, it's a very cool image!
I like them too!
I don't understand why she recommends cutting the drawings.. Scan them! Crop them digitally! Don't cut your original work.
I guess I was born before the digital age of scanning and cropping! Just the way my mind works.
This video came up in my suggestions and I'm so glad I watched it - I have a lot of the same issues and questions about my art, as a hobby artist who only has had highschool art classes. Really wonderful and helpful tips too.
I'm so happy to hear this video answered some of your questions! We have a bunch more portfolio critiques here if you're interested. -Lauryn, Art Prof Teaching Artist
czcams.com/play/PLvt8_pMl6ywliWpmLTuUUT77wfQnYu_MP.html
The beginning reminded me of a pic a card ready u just seem that your good at details from this and that btw I live watching these I learn. A lot about art that iv never known
As someone who is completely blind to any form of composition, symmetry and colour connection even after years of trying to "learn" it i absolutely dread one day having to make an actual functioning portfolio.....
I completely understand this fear.... it can be so daunting. We have SO many portfolio videos that can help though! Here are a two that might help:
Portfolio mistakes to avoid: czcams.com/video/klWyhK902LA/video.html
Portfolio tips: czcams.com/video/BgMLNc7YTW0/video.html
- Mia Rozear, Art Prof Staff
Join our Art School Portfolios Group! Ongoing support & critiques, voice sessions with Prof Lieu. Get a chance to connect with other students for $30-$40 monthly. More info: artprof.org/art-school/art-school-portfolios-group/
thank you for making these videos
Glad to hear you are enjoying our resources! By the way, much more content is coming soon, we are launching the new Art Prof website soon. If you'd like to be notified of our site launch, you can sign up for our email list here: eepurl.com/bSrjSD
This is just my only personal observation but the pen and ink pieces of portraits in this portfolio remind me of those filters in apps where you take a photo of someone and then the filter makes the photo look like a sketch.
I guess that just says something about how technically good and “photocopied.” The artist is as you mentioned.
I’m a freshman in high school and i’m planning to go to a really good art school in my state. I haven’t started a portfolio yet because well, im a freshman, but i have plenty of ideas and knowledge about the portfolio i will eventually make :)
You've got time! I had no idea when I was a freshman in high school that I wanted to go to art school. I recommend trying as many art media as you can, it will give you lots of different experiences, plus it's fun! We have tutorials in all different art media here in this playlist: czcams.com/video/u_sTsHODa0k/video.html -Prof Lieu
Same here.
But you Americans are really lucky.( Assuming you're from the US)
I have read about your highschool art classes and, I must admit, I wish I could have regular art classes in school.
I only get one art period ( of 40 minutes) in a week.
Just Sargam You can always do art at home! God bless you❤️
good video ! it's very helpful
Thanks for watching! Much more content is coming soon, we are launching the new Art Prof website soon! If you'd like to be notified of our site launch, you can sign up for our email list here: eepurl.com/bSrjSD
Near the beginning of this critique you suggested that the artist do a lot more work from life and less from photos. You mentioned that drawing and painting from photos gives an artist bad habits which are difficult to get out of. I am a disabled artist. I work part-time as a teacher and doing that work takes all of the energy I have, so it's rare that I can leave my home apart from for work. When I do leave I have very limited energy and a lot of pain so I tend to take photographs and then paint, draw, carve wood, shape clay or whatever much later when we have school holidays and my physical condition calms down. Please could you say a bit more about what these bad habits which come from drawing from photographs are as I am aware that I do this and I want to be the best artist I can within the constraints of my disability? Many thanks!
Hi Jo, thank you for sharing your experience! My partner is also an artist with chronic illness / disability and has some of the same issues you do. One thing that helps him and I'd recommend to anyone using photos, is to reference a lot of different photos, and not just work from one. They can be your own photos, or ones you just pull on Google. That way you're not tied to a single point of reference which can be limiting and cause the work to look tight and flat. You'll also be learning more about the form you're trying to draw if you have multiple reference points of it. He also likes to research everything about the thing he wants to paint or sculpt -the processes, the history, the subject matter, the related artists. And he can do that from bed during a flare which is great. That research is super important, because it'll give you more creative options and save you time puzzling through parts of an artwork later. You might like this video we have on how to use reference photos: czcams.com/video/mfDx5d5ZXgA/video.html
When your health is unpredictable, I think it's important to know what you are and aren't capable of doing at any given point, and using that time efficiently (if that's an option, and I know a lot of the time it's not!). If you're in the waiting room at a dr office and your hands feel okay, you can bring a little sketchbook and do gesture drawings of people in the room. If you can't go outside, but can move around enough inside, you can set up your space or make thumbnails for future projects. If you need to stay in bed, you can read or look at pictures. These are all really important parts of the art making process, but you shouldn't have to spend time on those parts when you're feeling your best and want to get into making the art -as you said! -Lauryn (Art Prof Teaching Artist)
Thank you so much for your reply. I really appreciate you taking the time to give me advice.
I will work on using multiple references. I do it like that sometimes, like when I want a texture for the skin of an animal from one photo and the shape of the animal from another and then the background from several images worked together. But I do tend to spend more time working on realistic portraits from a single photograph which is really just copying with paint what a camera can do in the blink of an eye. I will work on this. (Thanks for the video link on how to use reference - it was really useful.)
I do tend to use a lot of my downtime for research. Mainly I do this because keeping my mind actively engaged on something helps manage the pain. I didn't realise this was part of the art process - I am seeing it in a new, more positive, light now. . I also sometimes spend time just looking at things really carefully when I am too sore to do anything. Every now and then I come across something which breaks open my way of seeing the world, like when I realised that strong colour makes our eyes see the a touch of the complimentary colour in the background. Or when I saw how ambient light reflects into shadows changing where the deepest part of a shadow will be. Or how beautiful very subtle colour in grey tones can be. Now I can do all of this thinking of it as part of my process rather than simply as something to keep my mind occupied.
I will endevour to do some more quick gesture drawings and thumbnails and take a small sketchbook with me when I'm out somewhere. That's a lovely idea.
Your art critiques of portfolios have also been really helpful in understanding how it's not just the painting execution and rendering that matters, but the meaning behind it, the intention and communication of emotion. I've never thought of it that way before.
So thank you again. Your advice is very much appreciated.
I miss color, i just can’t leave something without color, my sketchbook looks like a rainbow from the side because when I leave the background white I color it. And I love working on monochromatic, contrasting and really bright pops of color. And it’s a shame that some people avoid color because it’s a great graphic element to make simple pencil sketches pop out from a page.
One of my art teacher’s commented to me that most people my age (fifteen at the time) don’t work with color and it’s such a shame, because I have been having a blast with watercolor pencils and watercolors and now I’m trying acrylic and some ink, sometimes even highlighters.
Yes, color is amazing!!! I totally understand the fear of it though, as someone who really struggled with color (and still do, but not to the same degree) it makes sense to me. You might like this video I did with my former teacher, Tony Janello, he does a really great job of explaining why people are so intimidated by color: czcams.com/video/QL5HZD1kEjY/video.html
In AP Studio Art, in a Drawing Portfolio, is it okay to have all of your concentration images as digital paintings?
Hi! I don't teach AP Studio Art, so I don't know what their precise requirements are for a Drawing Portfolio. I would ask your high school art teacher to find out for you.
Also, I usually just draw in black and white. Do you recommend any videos or blogs for getting into using colours?
Actually, we are launching the new Art Prof website soon, and our first tutorial will address drawing in color. If you'd like to be notified of our site launch, you can sign up for our email list here: eepurl.com/bSrjSD -Professor Lieu
Hi! I made for my portafolio just one out of ten drawing from photo, it's a portrait of a woman splashed by water and I added some color, should I include it??
Hi! Sorry, but I'm unable to give you an accurate assessment without seeing your entire portfolio and the actual piece. I offer portfolio critiques for a fee, you can get information on that here: claralieu.wordpress.com/college-art-portfolio-video-critiques/ -Professor Lieu
I believe most of the art works were school projects so they didn’t have a ton of wiggle room and time for expression because most art teachers will force students to draw exactly what the they want, not what the student wants. Plus you get a small time period to do your art so that’s why most of the drawings look unfinished
Mmmm that's a good point, it's really hard to make a portfolio when you're under someone else's toe! - Mia, Art Prof Staff
So i am thinking about going to a art school and i was showing this to my mom and she asked what is a portfolio... And even tho i know what it is i just really don't know how to explain it
I would recommend that you show your mother this article I wrote about how to prepare a portfolio for art school, it is very comprehensive and talks about the entire process beginning to end: claralieu.wordpress.com/2013/03/19/ask-the-art-professor-what-should-you-include-in-an-art-portfolio-for-art-school-or-college/ -Professor Lieu
I would say that a portfolio is a selection of your artworks that express your capabilities and styles as an artist. It is a snippet of your greater bodies of work to tell a particular story. Portfolios can certainly be tricky for many reasons. Should you include a bit of everything to show versatility? Should you include a limited scope of work to show style or subject matter? Should you include only your best paintings and drawings to show your strength? Lots to think about and consider! There is no right or wrong way to do any of this, but we hope we cover a lot of this on our new ArtProf site, launching at the end of this month!
-Yves-Olivier, Art Prof TA
Did you go to an art school?
Omg sa Balkana si👀
@@xirya9898 hahah ne nisam mogla ići na kraju... pripremila sam portfolio i sve ali nisam mogla nažalost platiti put za doći na prijemne ispite. a i da sam uspjela ne bih mogla plaćati stanarinu i sve. ali nema veze probati cu opet ove godine ili sljedeće ako i ove ne uspijem.
What bad habits come from drawing from a photograph?
you become unable to draw something in person, in other words you become too dependent on photos and find yourself struggling when faced with a in person drawing like a nude model etc.
This blog post I wrote explains in depth the kinds of bad habits that can develop if one only draws exclusively from photographs: claralieu.wordpress.com/2015/01/21/ask-the-art-professor-how-can-i-learn-to-draw-from-my-imagination/
Well said. I have found that people who can draw from life well gain the fundamental skills that allow them to work from any kind of reference. By contrast, people who only work from photos tend to have a very tough time drawing from life.
By the way, much more content is coming soon, we are launching the new Art Prof website in early 2017! If you'd like to be notified of our site launch, you can sign up for our email list here: eepurl.com/bSrjSD
I've always wanted to try getting into an art school but have been put off because my portrait skills are terrible compared to anything else- are portraits necessary for a portfolio like this? I don't think i've ever seen one accepted without some type of portrait- thank you in advance if anyone responds!
Portraits are by no means an absolute requirement-if they were, I'm sure schools would say so in their application requirements. However, portraits are certainly a good way to demonstrate that you can work with a wide range of subject matter, and that's certainly a quality that schools are looking for. They want to see that you can handle all different kinds of imagery, so it's to your benefit to include as wide a range of subjects as you can. If you need help drawing portraits, we have this charcoal drawing portrait tutorial on our CZcams channel: czcams.com/video/3VxcbxAE1vQ/video.html. We also have a brainstorming/sketching/drawing tutorial here: czcams.com/video/LKuK_RyNGXc/video.html
We will have many more drawing tutorials when the new Art Prof website launches. If you'd like to be notified of our site launch, you can sign up for our email list here: eepurl.com/bSrjSD
Art Prof thank you very much! I'm currently taking life drawing classes but I'll follow the tutorials you provided and hope i get the hang of it soon!
Yes, good luck! Portraits are challenging, but in my opinion super fun and rewarding to draw. By the way, much more content is coming soon, we are launching the new Art Prof website in early 2017! If you'd like to be notified of our site launch, you can sign up for our email list here: eepurl.com/bSrjSD
Good luck to you Sophie Lee! I remember how stressful it was when I applied to art school. My portfolio was all sculpture so I can't super duper help with this but will tell you that I did not have any portraits and still got in!
-Yves-Olivier, Art Prof TA
I'm planning on auditioning for UNCSA's high school program for next year - it will be my senior year - and I was wondering if the portfolio standard would be held up the same as a college audition? Do you think that it will be of the same critiquing, and high of a standard for a high school student, as it is for a college one? I'm not all too concerned, just curious to if the protocol would be the same for a younger group.
I'm sure their portfolio standard is totally different, given that you are applying for a high school program. -Professor Lieu
I personally prefer to leave backgrounds blank. Why is this a bad thing? I would love for my art to grow, but I don't know how I would add backgrounds to my pieces without it looking strange or taking away from the piece.
Generally speaking, blank backgrounds tend to make pieces look unfinished. Blank backgrounds are the default reaction to not wanting to add a background, so it's the first thing that people resort to. Backgrounds can tremendously enrich a piece, they're so important! You can only draw people floating in white space for so long! When done effectively, backgrounds will make the piece better, and the only way to figure that out is to start developing backgrounds. I suggest you check our Drawing in Color course, which talks a lot about composition and placement of the subject on the page, and how to go about creating effective backgrounds: artprof.org/courses/drawing-in-color-still-life/
what are the bad habits of drawing from photographs, i practice a lot of things i can only do from photographs when drawing so i would like to look out for this
Hi! I wrote this article which lists in great detail a number of bad habits that develop if one only draws from photographs. You can read that article there: claralieu.wordpress.com/2015/01/21/ask-the-art-professor-how-can-i-learn-to-draw-from-my-imagination/ -Professor Lieu
In my experience the tell-tale signs that a piece is drawn from a photograph tend to be in the really fine details, such as the hair in someone's portrait, or folds of cloth in a still-life. In a situation where you are working from life you probably wouldn't focus on these details as much in your drawing; you would give more care to a subject's face, or the objects that are more integral to the composition. Whether or not we are aware of it, a huge part of the drawing process is editing, and when you are trying to capture what's in front of you (a figure model, especially) you are forced to make quick decisions about what's important to include or convey in your image. On the other hand, when you work from a photograph, you potentially have all the time in the world to get distracted rendering in extreme detail, often to the detriment of the image as a whole. To put it simply, you risk losing the forest for the trees. - Casey, Art Prof TA
Lizzie simac , basically, it suppresses you from exploring your capabilities and imagination. 😊 i guess.
I always struggle with backgrounds. What should I do for the background of portraits?
I'm thinking... Maybe gradient? But when i try to do that it looks weird. So idk.
I don't think there is 1 way to approach the background in a portrait, every portrait is different. I would suggest starting out by placing imagery in the background that creates a physical environment for the figure to exist within. Otherwise, the portrait looks like it's floating in space. For example, that could be a window, a door, a landscape, wherever the figure is. Look at portrait painters from art history and see how they did it: John Singer Sargent, Velazquez, Goya, are all great to look at. -Professor Lieu
It's also important to make a distinction between "background" and placing a subject in an environment. If you are making a "background" just for the sake of having less white space, be cautious as you proceed. Even if there is less white space, the subject can still appear to be floating. Placing a subject within a room/space that has things it can relate to, (like Professor Lieu says, a window or a door) allows your viewer to move around the piece and experience a moment in time *with* the subject, instead of just a subject. I hope this makes sense, and as always, there is no right or wrong way to do any of this!
Yves-Olivier, Art Prof TA
Just an observation, but I feel like you could really put more consideration into the personal style of some of these works of art. Saying that things they included into their piece are weird or strange just because you're not personally fond of them lacks any real critique.
Otherwise, good video! :)
I can tell you that I do aim and make efforts to keep my personal preferences separate when critiquing artwork. I think given that visual arts is such a subjective field, what I encourage artists to do is seek advice from many people-my opinion is only one point of view, and I'm sure that another artist would critique the same piece completely differently. I think that's a good thing that not everyone agrees; if there was universal agreement about what was "good" or "bad" in visual arts, that would worry me. Also, keep in mind that this specific critique is for art school admissions, and admissions committees have specific criteria for what they are looking for. I would critique a professional artist's portfolio in a completely different way. -Professor Lieu
I agree, she compared her rose etching to a hallmark card.
Art Prof I think the problem some people have is that you would critique a professional artists art diffrently. Art is art and people have diffrent ideas about it. Just Don't change your opinion about it based on who made it.
I dont agree with that, I think most of these observations are very justified. If you want to do imaginitive or observational realistic drawings (which is the basis for any style of art except for abstract paintings), you need to work on -values -colour -composition etc. and these were the things she meantioned.
I think it is a common problem in todays artists, that they dont allow criticism and this will lead to nowhere, you wont improve and you will create pseudo and lazy art. You need to improve constantly if you want to be an artist. Sometimes its hard to hear the truth about pieces, you put a lot of work into, just be aware that it takes time to master art. Allow yourself to fail and distanceyourself from old drawings, its necessary for your observational skills and your later job anyway.
Does someone know the specific caran d'ache pastels/crayons she is talking about? I'm applying to art school and doing something with these would be great!
Here is a link to the specific Caran d'Ache crayons: amzn.to/2xxSMe3. We also have this self-portrait drawing tutorial czcams.com/video/MKL-57HexCk/video.html and this still life drawing tutorial where I demo how to draw with these crayons: czcams.com/video/uzoPI6-dlNM/video.html -Prof Lieu
Art Prof: Create & Critique Thank you so much! ☺️
can a student have a successful portfolio, without having any animate drawings/ paintings? and include more conceptual works and/or inanimate subjects? or does the elimination of animate subject is seen as a weakness, even if the others works are strong (good)
PLEASE ANSWER!
Hi, can you explain what you mean by an "animate subject?" I'm not sure I understand what you are referring to with that phrase. Please clarify with a specific example, and I will see if I can provide an answer.
Art Prof animate subject meaning anything with life, eg: humans, animals
It's important to show diversity of both subject and media, so if even if your other works are very strong, it can be problematic if you are limiting yourself to only inanimate objects. I wrote a blog post that has tons of information on how to prepare a portfolio, and goes into more depth about this: wp.me/pasJI-15o
Hello I am currently a sophomore in high school and my dream is to attend Rhode Island school of design when I’m older. The one thing I am currently worried about is the lack of mediums I am good at doing. One thing I struggle with is sometimes colored pencil and proportions. And since we have very few art schools in my community I am hoping to get better over the years by myself and videos online. I was just wondering if it would be a good idea to put in some mediums that I am not the best but am still trying to improve on. :)
Hi Kayla!!! I went through the same sort of struggles when applying to Risd, and I would encourage you to branch out even if you aren't the best at every medium! I find that schools like Risd really care about variety, so if you can show you are willing to explore and experiment, you might capture their attention :)
This portfolio tips video might also help you out: czcams.com/video/JorldSWJD1M/video.html
Thank you so much for watching! - Mia Rozear, Art Prof Staff
Are there any tips that you can give on how to improve drawing from life? I find that I can do the basics well enough but I really want to improve my versatility and abilities in Art
Hi! I recommend that you watch our video courses, all of which emphasize drawing from life: artprof.org/courses/ We also have this article which talks about specific strategies you can use to improve your drawing skills: artprof.org/professional-development/practicing-drawing/ Also, if you register (for free) on Artprof.org, you can directly ask our staff any further questions you have: artprof.org/ask/
Is there a way for me to send my portfolio to you for a brief, raw critique. I'm applying early decision to RISD and portfolio review day is after that deadline. This is last minute sorry
Hi Sabrina, I offer 30 min. video critiques on 8-20 artworks for a fee. More info is here: claralieu.wordpress.com/college-art-portfolio-video-critiques/
By the way, much more content is coming soon, we are launching the new Art Prof website in early 2017! If you'd like to be notified of our site launch, you can sign up for our email list here: eepurl.com/bSrjSD
I think the lines at 24:13 is a glass case.
she means the multiple diagonal lines in the background
it was suppose to be a wooden floor i think
wait but why are drawing from photographs bad? what bad habits do students typically pick up when they draw mostly from photographs? (clearly i am one of those students aha)
Hi! This article I wrote explains the bad habits that are picked up when drawing from photos: claralieu.wordpress.com/2015/01/21/ask-the-art-professor-how-can-i-learn-to-draw-from-my-imagination/ -Professor Lieu
When I have to work from photographs I find that it's very easy to get distracted noodling around with unnecessary details. If I'm not careful I end up putting too much time and effort into making each element of the drawing match the photograph perfectly, as opposed to capturing my own interpretation of the subject as you inevitably would while drawing from life. If I'm not careful about this, the finished piece can look stiff as a result... and if you ONLY work from photos this habit of overworking your drawings can become really difficult to shake! Drawing from life, on the other hand, trains you to prioritize the general gesture or shape of the figure and the details that really matter, as opposed to those that will only distract the viewer. Sometimes working from photographic reference is necessary, of course, but in the case of subjects that are readily available to you it's always better to work from life, for this reason. With a life-drawing setup get a three-dimensional object to interpret (rather than copy) and you have more control over things like lighting and perspective. So in a lot of situations it can be easier than drawing from a photo, anyway!
- Casey, Art Prof TA
I’d sum it up as “hey 👋🏼 work on your creativity you can draw ✍🏼... just need more variety and a lot of imagination “...
Variety is so important!! - Mia Rozear, Art Prof Staff
@@artprof thanks couldn’t agree more ... also what would be the preferred method of sending some of my art work that is currently up on my social media ... 4 months of real drawing for a comeback after not drawing since I was in elementary. That wasn’t a requirement from school other than that just doodling abstractions and faces here in then but nothing that I had to work for ! 🙏... 🖊 🖤... btw you will love my imagination
Wait... What's wrong with symmetry?
Symmetry can certainly work in some cases, however in the context of an art school admissions portfolio, the vast majority of students place subjects dead center on the page. Generally, that's the default action most students take, largely because they are not thinking or even considering the importance of composition in a 2D artwork. I encourage students to explore other options for composition, and a big part of that is not resorting to a default option, but rather considering the millions of other ways there are to compose a 2D artwork. Here's an article I wrote about the importance of composition: claralieu.wordpress.com/2013/04/10/ask-the-professor-how-do-you-make-an-art-piece-more-rich-with-details-that-will-catch-the-eye/ -Professor Lieu
Nothing wrong with Symmetry at all! But my suggestion is that when you do employ symmetry as a tool, have a good reason as to why you are doing it that way, because a drawing can look great from all different types of compositions. Our tip of avoiding symmetry-at least for application portfolios-is that symmetry is usually the first 'go-to' option. So, are you employing symmetry for a specific reason, or did it just happen that way out of convenience? Again, there is no right or wrong way to do any of this!
Yves-Olivier, Art Prof TA
Hiw do you tell whether a piece is from direct observation or from photo? I personally can't tell.
Usually you can tell if it's a drawing of a person that has a gigantic amount of detail. Most artists do not have access to a live model who can pose for enough hours to achieve that amount of detail in a drawing. Also if the drawing is a highly detailed piece of an animal, like a wolf or a lion, which is not possible to do from life, or if it's a person in a pose that no one could hold for many hours on end.
Whats wrong with drawing from a photograph?
Nothing at all, it can just lead to bad drawing habits if you're not aware of how the photograph lens affects the subject matter. Here's more about how to use photo references to your advantage as an artist: czcams.com/video/E1HQ9AkvZVc/video.html -Lauryn, Art Prof Teaching Artist
don't think it's amiss to be encouraging and supportive with young people, even at the expense of a balanced review or even being realistic, If they want to learn about and be prepared for all the blows that life deals out (especially to artist), that would be a separate course with separate tuition fees right?
I think I'm not understanding what your question is, can you rephrase what you'd like to know?
Sorry to confuse, no particular question being asked. Just making an observation. But since you responded, here's a question you might be able to answer; I wonder what your position is on views that art as an occupation should be restricted to those who only possess life-like drafting and rendering capabilities. In the way that aspiring pro basketball players must be above average height. A psychical biological requirement in other words. With one macro reason for such views, being that these unwarranted qualifications burden the economy with higher pay scales, and thus generate psycho-social forces that strive to alleviate the excess weight, whether by flooding such fields with drugs, and other volatile and corrosive elements, or other more drastic measures still. Care to comment?
There are infinite ways to be an artist, I don't believe that drafting or rendering skills are a requirement by any means.
i don’t agree with her ..
What aspects don’t you agree with?
Too critical overall!
Its critque shes going to be critical its the point
Yeah it’s art Shawty