| dc.description.abstract | The purpose of this study was to experiment with the use of charcoal in drawing.
The study was based on two set objectives:
a. To identify the sources of inspiration and surfaces on which experimentation with charcoal can be done.
b. To practically explore with charcoal and available surfaces in drawing
I used an experimental research design and my sources of inspiration were a combination of plant life and mounted cement sculptures. I used direct observation, library and archival surveys to undertake data collection, preliminary studies, which was qualitative in nature. Practical work was through studio experimentation that was generated from selected sources of inspiration. Data was analyzed through qualitative means.
It was revealed that much as charcoal had been used by artists in various art schools to create drawing projects, there was very little evidence of experimentation with this medium, especially in Uganda. Much as this was s, it was established that charcoal was a very significant material in drawing. Given that it was a material that that could be got without costs, it was a good choice for the contemporary art education institutions.
It was therefore concluded that apart from a few challenges, in using charcoal, as a material for production of drawing was possible. Charcoal availability without costs was considered of advantage to all learner/ instructors of at all levels. It also a very effective materials in depicting formal effects in drawings. As long as the concerned artists could meet the practicability, suitability, durability, and creativity challenges, it was possible to work in this media at all levels. The products underpinned the objective of innovation and broke monotony that resulted from use of other Medias in drawing. One can therefore draw the conclusion that charcoal as a media in drawing is still very effective and affordable as long as one identifies and understands the materials or surfaces that work with it.
It was recommended that:
• Artists in and out of Uganda adopt the approach to reduce on the monotony with the usual methods of drawing.
• Artists continue using charcoal as material to improve on the skills, improvisation, and versatility in drawing.
• Art educators expand the practice to all art learning levels for a change in approach to drawing using charcoal as well as other methods for experimentation and/expressionism.
• Secondary and Tertiary institutions use the approach as one on those that can help in conceptual drawing.
• Future researchers should carry on studio experimentation with other local materials so as to broaden the material base in art instruction and practice. This would ensure innovativeness in the field of art, as it is the case with other study areas.
• Because we are in the conceptual age artists should learn to use charcoal in conceptual drawing, where ideas are more important than the finished works. This underpins creativity and reduces the out dated classical approaches to art. | en_US |
