What people say about the Campaign for Drawing
The Campaign for Drawing has allowed people to draw, and to gather together to draw, in the same way that they gather together to sing. It has brought thousands of people into our galleries and museums. Many of these might not otherwise have come; and almost more importantly, the Campaign has, noticeably, altered the relationship of these visitors with the institutions. They arrive with a purpose, their interest has a focus. This is a triumph of the best kind of accessibility…establishing the importance of drawing not only as a mode of self-expression but a tool in learning and in science and design.
Quentin Blake, Campaign patron and illustrator
Where so many people simply rely on pre-prepared computer packages to express themselves visually, something important is in danger of being irretrievably lost. The Campaign has rekindled our natural capacities for self-expression through drawing in its many manifestations.
Sir Roger Penrose, Campaign patron and mathematician
The Campaign's main projects have all initiated a number of partnerships, have involved thousands of participants and precipitated an overall shift in consciousness of the central role and great potential of drawing as an educational and participatory tool……One of the things that thrills me about the Big Draw is that it's wildly inclusive – young and old, those who have drawn before, and those who have never picked up a pencil in their lives. There really is something for everyone.
Sir Christopher Frayling, Chairman of Arts Council, England.
The Campaign for Drawing represents one of the most innovative developments in education and the arts in Britain in the last ten years. It does not merely promote a traditional discipline from the arts, it allows the possibility of new practice and imaginative development across various educational disciplines. As such, it represents an incredible shot in the arm for teaching and learning in general. The Campaign allows all types of learners and teachers with all kinds of education backgrounds to be challenged and interrogative within the learning process and to expand the imaginative range of traditional subjects .Its initiatives represent an enormously efficient and profitable boost to drawing and creative thinking in its networking capacity; by training trainers and practitioners a large and productive network is organised, the effect of which is exponential in growth terms.
Andrew Hewish, Director, The Centre for Recent Drawing
The British Library is proud to have presented 'The Big Picture Party' on 27 October 2008. We were thrilled to welcome a pantheon of superb children's book illustrators to present a packed programme of workshops, talks and demonstrations. The event was a stunning success – quite the most popular family event we have ever staged – and indeed, we thank all the event partners and artists for going the extra mile to add activities and fit in more children when the queues built up. One extremely well known British novelist, biographer and critic was heard to remark that it was 'wonderful to see', when passing through on the day.
Jon Fawcett, Senior Events Officer, The British Library
Last year we hosted the launch of The Big Draw – I have rarely seen so many people actively engaged in making art in our galleries. The institution was transformed.
David Anderson, Director of Learning and Interpretation, V&A
We are immensely grateful to the Campaign for Drawing for all it has done. Drawing is now firmly on the agenda here, and we hope to continue for many years to come.
Kathy Adler, Director of Education, The National Gallery
It is astonishing the way the Big Draw has given people of all ages and from all walks of life a mandate to think broadly and to draw freely and be creatively productive in different dimensions.
Sarah Harris, NADFAS Young Arts
We can only say that the impact for participants in the Big Draw is profound. We are hugely impressed how the simple activity of drawing can work within the context of a museum to engage wide-ranging audiences. The place buzzes with enthusiasm and energy, it is quite infectious.
Sharon Ament, Director of Communications & Development, Natural History Museum
The Big Draw significantly increased participation by black and ethnic communities.
Sarah-Jane Harknett, Museum of Archaeology and Anthropology, University of Cambridge
Anchoring to a national campaign makes the event more inclusive, accessible, people feel that they are part of a bigger event and that it is more meaningful than if the gallery holds a stand-alone event.
Natalie Walton, Milton Keynes Gallery
Consider an asylum seeker speaking little English or a teenager with learning difficulties, failing at school. At what other event could they join such a mix of people and contribute on equal terms?
Tom Flemons, Reading Development Facilitator for Staffordshire and Stoke on Trent
The philosophy is very inclusive – you don't need to be good at art to get something out of The Big Draw. It offers the chance to work within formal and informal education, to help organisers think about drawing in ways that engage their audiences enjoyably.
Clare Halstead, Arts in Education Co-ordinator, West Sussex County Council
In a deprived area like Cwmaman, which is an ex mining community, many people do not have the money to pursue hobbies but hopefully some of the participants will continue to draw and develop their drawing skills.
Alice Place, Cwmaman Institute
This community event created a positive atmosphere in a challenging inner city environment.
Marilyn Rogers, Friends of Tate Library/Brixton Society
Their concentration, confidence and energy were amazing, and went contrary to the idea that the attention span of younger people has deteriorated. Drawing seemed to concentrate their minds!
Declan Carroll, Newry Institute
We intend to underpin learning with aspects such as creative thinking, reasoning, social skills and empathy and feel the booklets will aid us in making drawing an integral tool in teaching this.
Kate Keane, Headteacher, Ewell Grove Infant and Nursery School
What the books have reminded me, is that the primary, and often sole real value of a drawing, is to the person making the sketch – what they are thinking and what they discover whilst they draw are most important. The cumulative effect of the books is to reinforce the process and act of mark making as a key to coming to terms with problems, measuring them, assessing them and sensing them through drawing, whether in science, design or art.
Simon Poppy, Head of Art, Oakham School