jon d. payne
teaching philosophy
2006

Building strong teacher-student relationships through my resolve to understand students' learning habits and needs is critical to the ongoing learning process. The understanding aspect requires resolution by the end of a course section, and, as an instructor, I have to clarify my goals and expectations for the students. I am adamant about the assessment (e.g. work in class, out of class assignments, and final portfolios) meeting the criteria I have determined most essential in learning how to draw. My goal is for students to comprehend the fundamental process of how to see structure, analyze form, and initiate a drawing. Therefore, they can accomplish what they intuitively seek as an artist with drawing functioning as the backbone of all endeavors. Students who follow instructions properly, demonstrate good work habits and attendance, and who are receptive to critical yet positive encouragement are situated best for success in this educational equation. Provided that participation between teacher and student is mutual, I view this educational relationship as transferred information in the learning process that supports artistic growth and self-expression.

 
 
Everything for a major in the visual arts starts with drawing and the acquired knowledge of fundamental principles of design passed on from the instructor. As an instructor it is important for me to demonstrate clarity at the beginning of a section via syllabus and accompanying handouts for each class, which explain in full the principle we are studying. Examples of the fundamental principles of design studied in foundation drawing and figure drawing include composition, line, tone, value, light, form, scale, proportion, planes, negative space, figure/ground, repetition, symmetry, direction, verticals, horizontals, illusionistic versus atmospheric perspective, etc. Showing slides from master drawings, paintings, and contemporary artists that exemplify the principle we are focusing on provides a concrete visual reference to help embed the concept into the students' memory.
  
 
New tools and materials are presented according to the materials list on the syllabus. Anyone evolving in the drawing process needs to demonstrate a growing awareness and mastery of materials. Some drawing materials are naturally more suited for line (graphite, ink stylus, wax-based drawing materials like Conte and General's compressed charcoal) and others more for tone (willow and vine charcoal, Char-Kole compressed charcoal, India Ink). It is essential for students to comprehend the difference between line and tone, and how such materials influence their mark making; they should know, by the end of the term, what suits their preferences. Instructor demonstrations are imperative in order for the students to know how to manipulate and take advantage of the materials.
  
   
  In foundation drawing students address geometry in still lifes using line and gradually move to linear perspective, landscape, and head studies. Perspective and landscape can be practiced in unison by taking the students outdoors on campus. Head studies, which preferably begin with skull drawings, can eventually be practiced at the area's local Museum of Natural History, for example. In addition, if the class demonstrates an understanding of figure drawing (perhaps through mannequins and basic shapes) the museum can also provide good examples of the figure in the form of animals. The latter exercise is more suitable for figure drawing, because animals clearly present distortions-which need to be carefully observed in terms of proportion-when compared to the human figure. Also an excellent and informative activity for figure drawing is monoprints, which provide a relevant transition into reductive value. This activity simply needs to be coordinated, on my part, with the head of printmaking provided that this individual is receptive to our class using the facility. It's a good idea to vary the content when other more complex principles are ready to be introduced.
 
   
  In the college environment, there is a formidable chance for one to advance if he or she wants to exist professionally as a professor and an artist. Not only is there transferred information between student and teacher, but between the faculty itself. Exchanging information between colleagues provides enrichment for one's teaching and practice, both which usually work in harmony. I have observed a noticeable difference in my own studio when I feel the influence of my colleagues' counsel and the influence of what I preach in class. From one who esteems dignity top priority in a job description, existing in an environment that supports teaching and learning encourages my artistic practice, which I seek to pass down, share, and relate.