TEACHING DRAWING TO DESIGNERS IN HIGHER EDUCATION: METHODOLOGICAL ASPECTS

Abstract

The article raises the issue of changing the paradigm of teaching academic disciplines in higher design education against the backdrop of digitalization, algorithmization of knowledge, and declining interest in classical academic training. It is becoming increasingly relevant to draw on teaching and artistic experience in order to understand contemporary trends in the visualization of images on a plane. The purpose of the study is to justify the importance of academic drawing in the educational process and to adapt the teaching process to the new requirements of the modern world. The research methodology includes a comprehensive approach that combines an analysis of the research discourse of visual culture, a comparative analysis of contemporary educational programs, and empirical observation of the educational process in art and design specialties. An analytical method was also used to identify changes in approaches to drawing and image visualization in the context of digitalization. The method of generalizing pedagogical experience was used to formulate practical recommendations for preserving academic principles in modern design education. The scientific novelty lies in the actualization of the creation of a new method of teaching drawing for designers, which requires a balance between academic tradition and the latest approaches and means of creating images. Drawing is considered as a language of artistic thinking that requires adaptation to new conditions. Research results. It is argued that maintaining the logic of sequential task complexity, combining practice with an analytical approach, and forming a conscious understanding of form are factors that can ensure the quality of training specialists in the field of design in times of radical changes in technological and cultural paradigms. The importance of academic disciplines as the foundation for the formation of professional competencies of a designer, regardless of the digital level of the environment, is proven. The need to preserve tradition as a means of forming visual thinking, artistic taste, the ability to visually analyze and generalize is substantiated. An empirical approach is proposed as a means of concretizing creative principles related to the logic of image construction. At the same time, the problem of the lag in design education behind digital demand is taken into account.