Investigate: Inquiry and the Artistic Process
AP Drawing Topic 5 7:48 English narration · English + 中文 subtitles burned in
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Transcript
This is a page from an artist's notebook. John Singer Sargent drew on it in eighteen seventy, when he was still a teenager. Look at what is on it. Half a mountain, in faint pencil. Place names. An address in Florence. A date. It is not a finished drawing. It is a mind at work, left on paper.
这是一位艺术家速写本上的一页。 约翰·辛格·萨金特画于一八七〇年，那时他还是个少年。 看看上面有什么：一座只画了一半的山，铅笔线很淡；一些地名；佛罗伦萨的一个地址； 还有一个日期。 这不是一幅完成的作品，而是一个正在思考的头脑留在纸上的痕迹。
Now think about your own portfolio.
现在想想你自己的作品集。
Two students each hand in fifteen drawings, and both draw well.
两位学生各交了十五张画，两人画得都不错。
The first folder is fifteen good drawings of fifteen different things.
第一个文件夹里是十五张好画，画的是十五样不同的东西，彼此毫无关联。
Nothing joins them.
第二个文件夹里也是十五张画，但它们都在追问同一个问题， 你能看见它变得越来越清晰。
The second is fifteen drawings that all chase one question, and you watch it get sharper.
第二位学生的分数高得多。
<slow>The second student scores far higher.</slow> Not more skill — better investigation.
不是技术更好——是探究做得更好。
That is what Topic five is about. Six things build an investigation. Inquiry, and asking questions. Sources of ideas. Materials, processes and ideas. Context. Evaluating drawings. And documentation. We will build all six, and work one real example right through.
这就是第五个专题要讲的内容。 有六样东西共同构成一次探究： 探究与提问；灵感的来源；材料、过程与想法；语境；评图；以及记录。 这六样我们都会一一搭建，并且把一个真实的例子从头做到尾。
Inquiry means asking questions on purpose, and letting the answers decide what you make next.
探究，就是有意识地提出问题，再让答案决定你接下来做什么。
It is the engine of Big Idea One.
它是第一大概念的引擎。
A workable inquiry is open, personal and visual.
一个可行的探究应当是开放的、个人的、可视的。
Open, so it has more than one answer. Personal, so only you would ask it. Visual, so you answer it by drawing, not by writing.
开放，所以答案不止一个；个人，所以只有你会提出它； 可视，所以你用画来回答，而不是写字。
Your Sustained Investigation is scored on how the work develops that one question.
你的持续探究，评的正是作品如何发展了这一个问题。
An investigation is a loop, not a straight line.
一次探究是一个循环，而不是一条直线。
Question: ask something you can draw.
提问：问一个你画得出来的问题。
Explore: research, look, collect.
探索：查资料、观察、收集。
Make: draw, test, take risks.
制作：动手画、试验、敢冒险。
Reflect: critique, write, choose.
反思：评图、写下来、做选择。
Then it starts again — each pass deepens the investigation.
然后循环重新开始——每转一圈都让探究更深一层。
Every drawing answers a little, and asks a little more.
每一张画都回答一点，也再多问一点。
Let's work a real one.
我们来做一个真实的例子。
A student writes: I will draw hands.
一位学生写道：我要画手。
That is a subject, not a question.
这是一个题材，不是一个问题。
It asks nothing, so nothing can develop.
它什么也没问，所以什么也发展不了。
Test any question three ways. Is it open?
用三个标准检验任何一个问题：它开放吗？
Is it personal?
它个人吗？
Can you answer it by drawing?
你能用画来回答它吗？
Now rewrite it. How can line weight express my grandmother's hands aging?
现在把它改写：线条的轻重如何表现我奶奶双手的衰老？
Same hands — but now there is something to find out.
还是同一双手——但现在有东西可以去发现。
Here is the test that shows a question is big enough.
下面这个检验方法可以看出一个问题够不够大：列出它能产生的十件作品。 放松的手。
List ten works it could produce.
握紧的手。 拿着杯子的手。
Hands at rest. Clenched.
弱光下的手。
Holding a cup. In low light.
一根手指的特写。
One finger, close up.
和布料在一起。
With cloth.
凭记忆画。
From memory. In ink.
用墨水画。
On torn paper. Life-size.
画在撕开的纸上。
Ten works, all different, and every one still answering the same question.
画成真人大小。 十件作品，各不相同，却都还在回答同一个问题。
If you run out before five, the question is too narrow. Open it up.
如果你不到五件就想不出来了，说明问题太窄，把它打开。
Where does a question like that come from?
这样一个问题是从哪里来的？
From your own experiences.
来自你自己的经验。
Six sources feed a drawing practice: observation — draw from life. Memory — places, people, childhood. Research — anatomy, history, science.
有六个来源在滋养一种绘画实践：观察——对着实物画；记忆——地方、人、童年； 研究——解剖、历史、科学；文化——书法、织物、电影；其他艺术家；其他学科。
Culture — calligraphy, textiles, film. Other artists.
一本日志把它们全部收集起来。
Other subjects. One journal collects it all. Ordinary things carry authority: the kitchen table you know beats a castle you do not.
平凡的事物自有分量：你熟悉的那张厨房餐桌，胜过你并不了解的城堡。
Every drawing is built from three parts, and these are the College Board's own names.
每一张画都由三个部分构成，这几个词就是大学理事会自己的说法。
Materials — what it is made of.
材料——它由什么做成。
Processes — how it is made.
过程——它是怎样做出来的。
Ideas — what it is about.
想法——它讲的是什么。
A material suggests a process; a process changes the idea.
材料会提示某种过程，过程又会改变想法。
Change one at a time, so you can see what it did.
每次只改动其中一个，你才看得出它带来了什么。
Use those exact words when you write.
写东西的时候就用这几个词。
Use CED vocabulary in written evidence — materials, processes, ideas, experimentation, revision — they connect your claim to the rubric.
在文字材料里使用 CED 词汇——材料、过程、想法、 实验、修改——它们能把你的说法接到评分标准上。
Drawings mean more when you know where they came from.
当你知道一张画从哪里来，它的意义就更丰富。
That is context: when, where, why, and by whom a work was made.
这就是语境： 一件作品在何时、何地、为何、由谁完成。
This is Dürer's Melencolia, an engraving from fifteen fourteen.
这是丢勒的《忧郁》，一五一四年的一幅版画。
Every tone in it is built from cut lines, because that is what the material allowed.
画面里所有的明暗，都是由刻出来的线条堆出来的，因为材料只允许这样做。
Ask of any drawing: what was it for?
面对任何一张画都要问：它是为什么而作？
A study, a record, a plan, or a finished work?
一份习作、一份记录、一份方案， 还是一件完成的作品？
Study master drawings as working documents, not as trophies.
要把大师素描当作工作文件来研究，而不是当作战利品。
Leonardo drew this figure to test a rule of proportion, and wrote his notes around it.
莱奥纳多画这个人体，是为了检验一条比例的规律，还在四周写了笔记。
Rembrandt used pen and brown ink, which cannot be erased, so every line is a decision — and where he changed his mind, he painted over it in white.
伦勃朗用的是钢笔和棕色墨水，墨水擦不掉，所以每一根线都是一次决定—— 而他改主意的地方，就用白色颜料涂了上去。
Dürer built these hands from fine parallel lines, set closer where the tone deepens.
丢勒用又细又密的平行线画出这双手，明暗越深的地方线排得越紧。
Name the artists who influence you — crediting them shows integrity.
说出影响过你的艺术家的名字——标明出处才是诚信。
How do you judge a drawing — yours, or anyone else's?
怎样评价一张画——你自己的，或者别人的？
Four steps, in order.
按顺序走四步。
Describe: say only what is actually there.
描述：只说画面上真实存在的东西。
Analyse: how are the parts arranged, and how do the marks work?
分析：各部分是怎样安排的，笔痕又是怎样起作用的？
Interpret: what does it seem to be about?
阐释：它似乎在讲什么？
Judge: does it do what it set out to do?
判断：它有没有做到它想做的事？
Most students jump straight to judging — and that is why their critiques stop at, I like it.
大多数同学一上来就直接判断——所以他们的评图永远停在"我喜欢"。
And say it with visual evidence.
而且要用视觉证据来说。
Here, the head is fully modelled — hair, eyes, the soft tone of the face — while the coat is only a light, open line.
在这里，头部被完整地塑造出来——头发、眼睛、脸上柔和的明暗—— 而大衣只有轻而疏的线条。
So your eye goes straight to the face.
于是你的视线径直落到脸上。
That sentence names line, tone and composition.
这句话同时点出了线条、明暗和构图。
It is evidence, not opinion.
它是证据，不是意见。
Ask one focused question each time: does the focal point read?
每次只问一个具体的问题：视觉中心读得出来吗？
Then change something — revision after critique is the development the rubric rewards.
然后动手改—— 评图之后的修改，正是评分标准想看到的发展。
Investigation has to be visible.
探究必须看得见。
Scorers must see the investigation — a scorer cannot give credit for thinking they cannot see.
评分老师必须看到探究过程——无法为他看不见的思考给分。
Document as you go, and date everything: date every page.
要边做边记录，而且所有东西都写上日期：每一页都写上日期。
September: your first studies.
九月：你最初的习作。
October: material tests, taped straight in.
十月：材料试验，直接贴进去。
November: a start that failed — keep it, it proves you tested something.
十一月：一次失败的开头——留着它，它证明你试过。
January: a before and after pair, worth more than any sentence.
一月：一组修改前后的对照，比任何句子都有分量。
That is the scored idea: over time.
这就是被评分的那个概念：随时间发展。
Dated pages prove development without a word.
写了日期的页面，不用解释就能证明你的成长。
Three marks students throw away.
三个学生常白白丢掉的分。
First, they never write the inquiry as one clear sentence and pin it above your desk, so nothing in the folder looks connected.
第一，他们从来没有把探究写成一句清楚的话并钉在书桌上方，于是文件夹里的作品看不出任何关联。
Write that sentence and pin it up.
把那句话写下来，贴起来。
Second, they submit finished work only.
第二，他们只交完成稿。
Scorers must see the investigation: tests, failed starts and revision pairs are the evidence; nice drawings are not.
评分老师必须看到探究过程：试验、失败的开头、修改前后的对照才是证据， 漂亮的画不是。
Third, they photograph the journal in April.
第三，他们到了四月才去拍日志。
Photograph journal spreads as you go — rushed documentation looks like what it is.
要边做边拍日志摊开页——匆忙补拍的记录，一看就是补拍的。
Four things to keep.
四点要记住。
One sentence: write the inquiry down, because every scoring row asks about it.
一句话：把探究写下来，因为每一个评分项都在问它。
Open and visual: answerable through drawing, and worth ten works.
开放而可视：能用画来回答，而且撑得起十件作品。
Show the work: tests, failed starts, revision pairs.
把过程亮出来：试验、失败的开头、修改前后的对照。
And date it — development over time is what is scored.
还有写上日期——随时间的发展才是被评分的东西。
Four questions before you go.
走之前，四个问题。
Why is, I will draw hands, not an inquiry?
为什么"我要画手"不是一个探究？
How do you test whether a question is broad enough?
怎样检验一个问题是否足够宽？
Why date every journal page?
为什么每一页日志都要写日期？
Is a failed start worth photographing?
失败的开头值得拍下来吗？
Pause the video and answer out loud.
先暂停视频，把答案说出来。
The answers are on the screen.
答案就在屏幕上。