Craig Paul Nowak

TEACHING STATEMENT

As a professor of art, I don’t believe myself to be the arbiter of right or wrong when it comes to artistic decision making, and I don’t believe it is my place to determine whether my students are producing good or bad art. In the classroom, I reserve my judgement and replace it with guidance. I want my students to learn how to make hard decisions for themselves, and I want them to succeed, not struggle, while doing it.

As such, I believe in developing a welcoming environment for my students, a space where experimentation, discovery, and individuality are embraced. Even in classes that focus on the foundations, such as Drawing Fundamentals, Anatomy, and Color Theory, I still believe that my students should be empowered to express themselves, but not at the expense of their lessons.

In my opinion, knowing the fundamentals is essential for every student, even the fine artists who choose found art as their artistic focus. Pablo Picasso is attributed with saying “Learn the rules like a pro so you can break them like an artist,” and I think that’s a solid adage for a fine artist, like myself, but it doesn’t apply to the other disciplines. Fine artists tend to have the luxury of picking and choosing which rules they follow, whereas everyone else requires the rules in order to effectively produce their product.

Illustrators and animators for instance, need to understand line, value, and contrast in order to adequately juxtapose story elements. Industrial designers need to understand form and shading in order to render a sellable concept. Interior designers need perspective for obvious reasons, and fashion designers can benefit from knowing anatomy. Even color and light is an asset to every artist, and I think it’s important for my students to know that mastery of all of these elements is learnable. They’re more akin to a science with documented rules than they are to magic or a divine inheritance, and they’re really just a means of creating illusion. When done well, that illusion feels magical, but what really transforms into a work of “art,” is dependent on the artist, their level of connection with the materials, and the audience that bears witness to its exhibition. These are the things I aim to teach my students and what I attempt to instill in the teachers that I mentor at Gesher Human Services.

As the manager of the Creative Expressions Program, I’m the person who initiates partnerships with arts agencies like the College for Creative Studies (2018-24) and Birmingham Bloomfield Art Center (2024-25). We also partner with individual artists throughout Metro Detroit who then provide art classes in every arts discipline imaginable to people with mental health challenges and intellectual and developmental disabilities. Before holding that position, I taught drawing, painting, sculpture, and traditional 4D media to people aged 9-99 via Community Arts Partnership and the Farmington Cultural Arts Division.

I learned most of what I know about art from my collegiate mentors Robert Schefman and Gilda Snowden amongst other Detroit and CCS notables like Chido Johnson and Peter Dunn, and I learned most of what I know about teaching from Mikel Bresee and Larry Lunsford, the former Director and current Co-Director of Community Arts Partnership at CCS. The rest of my art teaching philosophy is derived from the Golden Rule. I realized after nearly 20 years of being an artist and just over seven years of teaching, that everyone wants to be treated with respect and dignity, and everyone wants to learn more rather than less.

That knowledge and understanding of my student’s desires is what led me to always start my classes with high expectations. I also always begin by assuming my students know what they want. Listening is an important part of my teaching philosophy, because every person is different. If my students signed up for a class, and furthermore, paid for it, then I can assume they already have goals and dreams that they’re hoping to accomplish, and it’s my job to help them succeed in achieving those goals and dreams.

It's because of that that I’m not against my students using any materials, tools, or media on their personal road to success. So long as those materials, tools, and media are used responsibly and they fall within the parameters of the class, assignment, and most importantly, school policy, then I believe they are all fair game. Even AI is potentially on the table under certain circumstances, because I understand that there is no going back in time, and that the future is very likely to belong to those who leverage AI. I walk that line very carefully while trying to stay up-to-date on new technology as it evolves.

Regardless of my students’ discipline, the media they prefer, or the technology they use, I am only their guide. I don’t believe myself to be their decision maker, and I don’t want to hold their hand or make their art for them. I’m happy to take them from waypoint to waypoint and teach them from one class to the next, ensuring that they progress through their chosen pedagogy safely and confidently, but in the end, they need to build their own creative brand. They need to be empowered to do so. That, for me, is sacred ground reserved only for the artist. If I can get them to that point, then I will have succeeded as their professor.

 

Student Work

CAT TEST

I devised a way to assess my student's drawing abilities at any level. I call it the Cat Test because I have my student's draw cats on their first day of class. Cats are a recognizable, approachable, universally memorable, and generally likable subject matter. People are often excited to try drawing a cat, they're less nervous to draw something so familiar, and because I have everyone draw cats in three different ways (from memory, from photo, and from life), I can see how much they understand about drawing fundamentals, all in one session. That front row seat into their individual skill levels is a game changer for me. Every class after that can then be catered to their needs.

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Assignment Examples from Lesson Plan

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Fast Growth

SIX CLASSES

I can take a student from drawing stick figures to understanding line, value, shading, texture, and some perspective in only six classes. The primary focus of my beginner drawing classes is to loosen my students hand, to free them from their dependence on thought and analysis, and to imbue them with the confidence it takes to draw intuitively. This is be done by increasing their familiarity with the medium and its uses and by instilling in them the idea that “not every work of art needs to be a masterpiece.”

(the below examples show 2-hours of progress)

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Student Art 01

Student Art 01

Student Art 02

Student Art 02

Student Art 03

Student Art 03

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"I help them get out of their own way."

FUNDAMENTALS

DRAWING

Drawing fundamentals are important because art is sometimes closer to a science than it is a skill. There is a proven method for replicating 3D objects onto a 2D surface in order to create the illusion that what you drew is real. And the answer isn't to be born with talent. It's just to learn the rules.

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Repetition

10,000 DRAWINGS TO MASTERY

I always tell my students, the more you do something, the better you get. Don't judge the work you're doing now, because it's just one step in the journey. There's many more steps on the road leading to your destination.

Based on that concept, I devised a class involving a still-life, a circle of chairs around the still life, a timer, and a requirement that every student draws the still life from every chair/angle for a specified amount of time. I use the results from this class to animate their test results, showing how well they understood the form. If the still-life appears to be spinning in the animation, and the forms are understandable, then the student passes the test. And they're 15 or 30 (however many chairs were in the circle) drawings further along their 10,000 drawing journey to mastery.

Everyone is welcome

Not only is art for everyone, but in my experience, a diverse class is also an asset to the experience. People don't only learn from their teacher, they also learn from each other.

Student from Mural Painting Class at People's Community Services in Hamtramck

Student from Mural Painting Class at People's Community Services in Hamtramck

Students from Detroit School of The Arts' AP Drawing Class

Students from Detroit School of The Arts' AP Drawing Class

Students from Henry Ford Academy's Plaster Casting Class

Students from Henry Ford Academy's Plaster Casting Class

CRAIG PAUL NOWAK

DEI STATEMENT

I’m aware of President Trump’s executive order to ban government DEI Initiatives, and that awareness only strengthens my resolve to support diversity, equity, and inclusion at all levels. This is why.

Opportunity is not a luxury everybody can enjoy with ease. It’s a sad truth that this world was not built for everyone. In fact, there are more people who struggle to succeed than there are the alternative. I’m an example of someone who should experience fewer barriers. College educated, mentally healthy, CIS white male of middle-class suburban upbringing; some would say that I have no barriers whatsoever, but even that isn’t true. Everyone has barriers. Some have less than others, but we all struggle, and that’s why DEI is so important.

There’s a well-known illustration that depicts three people attempting to look over a wall to see a baseball game. The people are depicted at different heights and when each is given an equal platform to boost themselves up to a higher vantage point, one is still unable to see the game because even with a boost, that person remains too short. The second person was already tall enough to see over the fence, so any boost that they received was entirely unnecessary. And the third person was the only true beneficiary. The boost that they received was just enough to help them see over the fence.

The illustration then goes on to show how equitable assistance is a much better solution because it benefits everyone involved, not just the lucky few. In this example, the tall person receives no boost – they didn’t need it. The middle person receives the same boost that helped them see the game in the example that depicted equality, so they’re still able to enjoy the game. And the short person receives their original boost + the boost that was previously given to the tall person, thereby bringing everyone up to a satisfactory height for watching the game. All in all, nobody misses out, and everyone benefits.

In that illustration, height is a metaphor. In the real world, height is not a major dividing barrier for most, nor is it as impactful as a person’s age, race, gender, sexual orientation, religion, education, geographic location, culture, or disability. These are all major examples of things that either hold people back or push them forward, depending on the opportunity that they’re working toward.

In the illustration given above, I might be compared to the tall person, whereas, someone from African decent might be in the middle, and someone in a wheel chair with cerebral palsy might be at the bottom. This is not because those demographics are lesser in any way, but is instead because social systems and unconscious biases have trained different cultures to value and discriminate against different attributes, sometimes without them even realizing it. And what makes DEI even more important to the future growth of our culture, is that sometimes those that are furthest from the top of the fence embody the most potential for positive impact within the community.  So, helping them to succeed helps us all, and this takes nothing away from the people who can already see over the fence. They’re still able to enjoy the game. Instead, DEI pushes us to ensure that we look further, that we open our eyes, and that we consider every viable option rather than just a few. It also inspires us to remove systemic barriers by actively attempting to diversify our communities in ways that we may never have considered if we were never asked to.

To me, DEI doesn’t mean that people like myself don’t get hired. It just means that people like myself, who statistically stand the best chance of getting hired, are not the only candidates, and it prevents people like myself from casting a blackened shadow on people who are not like myself. I can safely say that I don’t want to be part of an organization that only serves the interests of people like myself and that I feel strengthened, ten-fold, when I am a working member of a diverse organization that ensures every member’s interest is considered and that they all have an opportunity to be included in the company culture.

For the past five years, I’ve worked at a human services agency that serves people with mental health challenges and intellectual and developmental disabilities. As an employee of that organization, I founded a multi-disciplinary arts program called the Creative Expressions Program. As the manager of the Creative Expressions Program, I’ve helped lead a team of educators, therapists, and coaches who’ve acted as a bridge to artistic hopes and dreams for 100+ people per/year, people who’ve previously only ever known stigma, criticism, and misunderstanding. After joining Gesher Human Services, they experienced acceptance, possibility, support, and opportunity. That culture is what I’m used to, and anything less would be a huge step backward.

I’ve had the pleasure of working alongside people from every race and culture imaginable, devout practitioners of every religion, representatives from every part of LGBTQ, and more. I would even go so far as to say that my colleagues have lived a very different life from my own, yet we all still get along. That’s what I believe is beautiful about an organization like Gesher, an organization with a strong DEI identity. I believe that we are stronger as a result of having a DEI initiative, and I don’t believe that we would be the same without it.

 

COLLABORATION IS KEY

We all live in this world together. No one is truly alone. We're born into a family. When we start school, we join the student body. After we graduate, we get a job and become members of a team. Later we might retire and join a retirement community. There's countless examples of social unity in this world, and that's why I like to center some of my classes and projects around collaboration.

(an examples of my student's collaborative work is below)

DREAM WORLD: Painting collaboration with Manal Kadry and HFA Students

DREAM WORLD: Painting collaboration with Manal Kadry and HFA Students

Student Painting 01

Student Painting 01

Student Painting 02

Student Painting 02

Student Painting 03

Student Painting 03

Student Painting 04

Student Painting 04

Student Painting 05

Student Painting 05

Some of the DREAM WORLD Artists

Some of the DREAM WORLD Artists