Stage 1 - Desired Results

Subject Area: Art Grade Level 10

Topic: Observational Drawings & Mood Length of Unit (17 Days)

Art 10 Established Goals - GLOs: DRAWING • Record: Combine descriptions, Expression, and cognition in the drawing process • Investigate: Develop and refine drawing skills and styles • Communicate: Investigate varieties of expression in making images • Articulate and Evaluate: Discussing the components of composition is part of learning to talk

about art.

COMPOSITION • Relationships 1: Solve teacher-directed spatial problems of movement and direction in the

creation of compositions • Relationship 2: Use the vocabulary of art criticism to develop and accept analysis of their own

work.

ENCOUNTERS • Sources of Images: Investigate the process of abstracting form from a source in order to cre-

ate objects and images

Art 20 Established Goals - GLOs: DRAWING • Record: Combine descriptions, Expression, and cognition in the drawing process • Investigate: Develop and refine drawing skills and styles

COMPOSITION • Components 1: Use of non-traditional approaches to create compositions in both two and

three dimensions • Organizations: Demonstrate control over various components of compositions

ENCOUNTERS • Sources of images: Recognize that while the sources of images are universal, the formation of

an image is influenced by the artistic choice of medium, the time, and the culture • Impact of images: Become aware of the relationship between function and form in artistic pro-

ductions

https://education.alberta.ca/fine-arts-10-12/programs-of-study/everyone/programs-of-study/?searchMode=3

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Understandings:Students will understand that…• Different methods of marks evoke emotions and tactile sensations. • Different types of lines can express movement, as well as add feeling to an image. • Observed objects can be recorded analytically or interpreted/exaggerated to communicate an

idea or feeling. • Discussing their work, and receiving feedback from others, can help them become better artists

and refine their skills • Value gives an image form, depth, and mood/expression (e.g. chiaroscuro or sfumato) • How to create value: highlights, midtones, shadows • Different types of line: weight, type, direction • How to make different types of contour line drawings and how these differ from gestural lines. • How to use a view-finder and pencil to accurately capture the proportions a scene • How to mark out a form for a gesture drawing

Essential Questions:• What types marks can be used to communicate an emotion or the tactile qualities of an ob-

served object? • What types of lines can be used to express an emotion or the movement of an active subject? • How can I offer constructive feedback that will help my peers and myself become better artists?

Students will Know…• How to make a variety of marks evoking different surface qualities and emotions • How to draw/interpret an observed subject using both contour and gestural lines • How to give constructive and respectful feedback using the technical terms learned in class.

Art 10 Students will be able to…Record Concepts • A. Subject matter and expressive intention can be depicted with a variety of notational marks • B. The expressive content of drawing is affected by the drawing media selectedInvestigate Concepts: • B. Tactile qualities of surfaces can be rendered through controlled use of line.Communicate Concepts: • B. A drawing can be a formal, analytical description of an objectArticulate & Evaluate: • A. Discussing the components of composition is part of learning to talk about artRelationships 1 Concepts • A. Movement, rhythm, and direction are used in recording humans and their activities.Relationships 2 Concepts • A. Describing and discussing media and techniques used in one’s own works will develop vo-

cabulary.• B. Describing and discussing components of design are part of the process of analyzing one’s

own workSources of Image concepts • A. Artists simplify, exaggerate, and rearrange parts of objects in their depictions of images

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Art 20 Students will be able to…Record Concepts • A. Sketching and composing skills can be developed by drawing from representational

sources • B. Developing expertise in one particular drawing medium may further develop personal com-

petenceInvestigate Concepts: • C. Control of proportions and perspective enhances the realism of subject matter in drawingComponents Concepts: • A. The use of non-traditional media affects the development of a two- or three-dimensional

object.• C. Chance occurrences or accidental outcomes can influence the making of a work of artOrganization concepts: • A. Developing several approaches to a single problem can demonstrate a refinement of orga-

nization and structure in compositionSources of Image concepts • B. Artists and craftspeople use the possibilities and limitations of different materials to develop

imagery Impact of Image concepts • A. The relationships of different features of a work of art may be compared to the total effect of

the work

Assessment Evidence

Assignments and Performance Task Lesson 1: Learn classroom rules and procedures. Community building exercise, and ice breakers Lesson 2: Create a series of blind contour and modified blind contour drawings of an observed subject. In the end they will make a final portrait combining both blind and modified contour draw-ings with other objects, and colour in the spaces in-between Lesson 3: Draw a series of still-lives using different mark-making and shading strategies Lesson 4: Students take turns as artists and models, as they use gestural lines to capture subjects in action.

Performance Task: Students will create a tryptic of 3 separate drawings. Each one will convey a different feeling/mood through differential use of line, shading, and mark making techniques.

Other Evidence (Observations, Work Samples, Dialogues) • Formative observations and dialogue during

work periods • Formative assessment on in-class assign-

ments • Blind contour drawings • Modified blind contour drawings • Gesture drawings • Blended still-life drawings • Various marks still-life drawings • Value handouts

• Sketchbook

Student and Peer Self-Assessment • Hashtag critiques or Two Stars and a Wish • Performance Task Critique

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Lesson Summaries Lesson 1: Introduction & Community Building • Objective: To get to know the students and for them to get to know eachother • Introduction: This lesson is an introduction to the class, the teacher, and each other. The first

part of the class will be spent briefly going over the course, expectations, classroom procedures, and introduce them to term upcoming term projects.

• Body: • Part 1: Self-portrait Drawing: In order for me to get to know the students better, I will give

them an envelopes with a list of questions inside asking about them and what they need to succeed as learners. On the front of the envelopes, they are to write their names, as well 3 symbols that describe something about themselves. I will provide my own example so that they get a sense of who I am and how to do the project.

• Part 2: All Star Class: After which, we will do a gallery walk, and students will tell a little bit about each symbol and how it relates to them. I will try to make connections between stu-dents who share things in common. Afterwords, students will be put into groups of four and given a set of star-shaped post-it notes. As a group, they will come up with a positive word about each of their classmates work.

• Closure: Take a snapshot of the entire class holding their envelopes, I will use this later to help learn their names. Students will hand-in their envelopes at the end of class.

Lesson 2: Blind Contours & Modified Blind Contours • Objectives: To begin training the hand to follow the eye to develop observational skills, so that

they can transfer observed objects into line drawings • Assessment: Formative Observation & Formative Feedback on Drawings (Strengths and areas

of growth) • Introduction: Talk about contour lines. Demo continuous and blind contour. • Body:

• Part 1: Blind Contours: • Do a series of blind contour style drawings mystery date/musical chair style; after-

wards, they can do an upside-down drawing from a picture on a phone if there is time

• Walk through and informally observe after each session some of the things people are doing well and encourage them to keep going

• Do a large blind contour drawing of a partner • Part 2: Modified

• Introduce modified blind control drawings. Have them do a modified blind contour drawing of a friend overtop one of their blind contour drawings

• Use pencil crayons to colour it in either realistically or go completely abstract. • Closure: Go through as a class and look over what everyone accomplished. Model how to give a

good critique by pointing out 2 good things and something that needs improvement. Have stu-dents go through and write Two-stars-and-a-wish on post-it notes (will need to prepare them for this ahead of time)

Lesson 3: Shading & Mark Making • Objectives: Complete a 4 point value scale and create still-life value drawings using blending and

other mark-making methods • Assessment: Formative Feedback (strengths and areas for work) • Introduction: Review that different lines create different feelings/moods. Here we’ll be looking at

textures. Discuss what shading is and how it can be achieved both through typical shading meth-ods, as well as cross-hatching, pointillism, etc. Demo these techniques

• Body: • Part 1: Shading using Blending techniques

• Create a 9-point scale using blending • Shading a cube

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• Shading a Sphere • Still life: Draw the shapes on the desk. Start with light contour lines and move into

blended shading. • Part 2: Mark Making Still-Life

• Go over hatching, cross-hatching, scrumbling, stippling, etc. • Have students practice on a 5-point and then a 9-point scale • Still life (Art 10): Draw the simple geometric forms on the desk. Start with light

contour lines. Fill some in with hatching, others with cross-hatching, stippling, etc. • Still life (Art 20): Complete a still-life of a glass vase and folds of fabric using non-

traditional drawing implements • Closure:

• Go through as a class and look over what everyone accomplished. Model how to give a good critique by pointing out 2 good things and something that needs improvement. Have students go through and write Two-stars-and-a-wish on post-it notes (will need to prepare them for this ahead of time)

Lesson 4: Gesture Drawings • Objectives: Students will learn the main characteristics of gesture drawing and experiment with

gestural figures through observational drawing exercises. • Assessment: Formative Observation & Formative Feedback on Drawings (Strengths and areas

of growth) • Introduction: Review contour lines, then contrast them to gestural lines to introduce another way

of observational drawing that is faster and emotive. • Body:

• Part 1: Group Discussion & Marking out the Figure • Project a series of images on the smart-board for students to examine. Try to have

them identify a few key features these drawings all share to identify the characteris-tics of gestural drawing

• Go through how to mark out a form • Part 2: Demonstration of Figure Drawing

• Show a video then demo how to make a figurative gestural drawing (e.g. line of ac-tion, head, spine, hips, interior lines, etc.)

• Have students practice this a few times - coming up to the smart board to identify where these parts are

• Part 3: Live-Action Timed Gestural drawings • Art 10: Divide the class into two: 1’s and 2’s; Have them take turns rotating be-

tween being artists and models. Models will choose an action pose (e.g. throwing a football) while artists draw. First round do for 3 minutes, then 2 minutes, 1 minute, and 30 seconds before building back up to 3 minutes.

• Art 20: Will complete their drawings using non-traditional drawing implements. Each of these will be difficult of control to bring in aspects of chance into the work (e.g. a feather, string dipped in ink, etc.)

• Closure: • Students will select two of their favourite figure drawings, as well as one of the first ones

they made to demonstrate how far they’ve come • Go through as a class and look over what everyone accomplished. Model how to give a

good critique by pointing out 2 good things and something that needs improvement. Have students go through and write Two-stars-and-a-wish on post-it notes (will need to prepare them for this ahead of time)

Evaluation Summary & Rationale Summaries Pre-Assessment (formative): The introductory activity will not only help me acquire information about students and their learning needs, but will also get students interacting with one another on the

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first day. Moreover, it lays the preliminary expectation for future critiques, and provide pre-assessment evidence of students’ drawing abilities for the upcoming unit.

In-Class Work Samples (formative): Each lesson will provide opportunity for students to express their learning through a number of in-class assignments. For instance, they will create a series of blind contour, modified blind contour, gesture, shaded still-life, and textured still-life drawings so that their teacher can formatively assess their mastery of the techniques taught in class and offer advice for improvement.

Sketchbook (Summative): Students will also complete a series of drawings in their sketchbook. They will be able to choose from a list of possible options. In this way they will be able to exercise choice and freedom to express their creativity

Critique: • In-Class critiques: After each lesson and at the completion of the performance task, stu-

dents will convene at their tables to discuss one another’s work and receive peer feedback. After which, they will come up with a “Hashtag” critique or Two Stars and a Wish, which they will put on a sticky note, and place near by their peer’s work. This will help them think more critically of their own work as well as that of their peers, as well as provide opportunities for problem solving.

• Student Presentation During Performance Task Critique (Summative): Students will present their drawings to the class, and provide a brief presentation on their artwork. This will give them the opportunity to elaborate on their artistic decisions, process, ideas, and the final end product. Therefore, students can help draw the attention of the teacher and their peers to key aspects of their work and student’s learning. Ultimately, this provide more op-portunities for students to express their knowledge. The gallery walk will be part of their overall grade for the unit.

Performance Task: • Art 10: Students will be assigned a performance task where they will be required to employ the

new knowledge and abilities they acquired over the course of the unit. They will create two sepa-rate drawings of the same object, each utilizing a different strategy for make making. In addition, students will also demonstrate their observational skills and ability to draw through observation.

• Art 20: Artists will choose a personal inanimate object to draw. They will make 2 separate draw-ings, each showing a different mood or emotion, by using a variety of line types. The first drawing will be a controlled contour line drawing, whereas the second will be a spontaneous gestural line drawing created using a non-traditional drawing of the student’s own making.

Rationale Overall, there are many types of assessment opportunities built into this unit. This is due to the fact that it will provide greater opportunity for learners to better demonstrate their learning, as well as off them opportunity to explore their individual style and creativity. This is beneficial for many reasons. To being with, this should help make assessment more valid. For instance, should student ineffectively demonstrate what they know in one form of assessment, then the teacher can see if it has to do with gaps in knowledge or if perhaps the assessment type was not conducive to that student’s individual learning style. Secondly, the number of formative assessments will allow both the teacher and the student to track their progress over time, not only to help inform the teacher on what steps need to be taken to scaffold and differentiate instruction, but also better enable the student to self-assess, learn from their mistakes, and take ownership over their own learning.

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Lesson 1: Introduction Classroom Rules, Procedures, Icebreakers, & Community Building

TIME: 80 minutes = One 80 minute class

Learning ObjectivesTo get to know the students and foster a community of learners

Materials/Equipment/Setup• large envelopes • printed questionnaire • pencils

• pencil crayons & markers • Course & unit outline • star-shaped post-it notes

• stickers

Procedure:Introduction: (e.g. visual display to teach art history & aesthetics, or give a demonstration) (10 minutes)

Before class begins: • Have the agenda listed on the board • Greet students at the door and tell them to take a seat and begin working on answering the

form in their envelopes. I will be collecting these later.

Rules and Procedures • As students work, take attendance • Introduce yourself • Hand out syllabus • Go through routines, rules, procedures, expectations (e.g. entering & exiting classroom, atten-

dance, materials, consequences etc.) • Demo entering & exiting procedures. Have students practice it (use magnets on the board

method?) • Go over upcoming semester and unit

Intro to Icebreaker: • Before we begin all that, I think it’s time we got to know each other a little more, as we will be

spending a great deal of time together • Also, this is your opportunity to tell me a bit about yourself, and any information you think I

should know in order to help you be successful in this class. This will be private correspon-dence between you and me.

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Resources: http://larryferlazzo.edublogs.org/2013/06/27/infographic-7-easy-icebreakers-you-can-do-with-post-it-notes/http://www.learnnc.org/lp/pages/1294?ref=popularhttps://inspiringteachingnow.com/tag/ice-breaker/

Body (Studio Activity):

Part 1: Self-portrait Drawing (5 min; 40 min ) • You have been filling out a worksheet on your desk. Once you are done, put it in the envelopes

provided. • Afterwards, you can start decorating your envelopes with your name (written decoratively), and

3 symbols that you think represent you. Think about how it reflects part of who you are and what you like to do. (e.g. an animal you identify with, and sports or leisure activities you engage in, etc.)

• Afterwards, we will be practicing a critique, where you can tell me more about what all of this means.

• Today’s critique will not be too stressful. We will only be focusing on the positive, though later in the semester, we will learn how to give each other helpful and constructive feed-back that will help each other grow as artists.

• You will have to talk about each symbol, so really think about why you decided on the image you did, and how it represents who you are.

• Provide an exemplar and demo a presentation to give students an idea

Part 2: All Star Class (20 min) 1. Students will put their questionnaire into their envelopes and seal it with a sticker 2. Sit in a circle and have each student go one-by-one and present their envelopes 3. Note or jot down any similarities people share; ask people more information about each of the

things they talk about. 4. Once they are done, have students post their envelopes to the bulletin board 5. Put students into groups of 4-5. Hand out post-it notes 6. They will leave their envelopes at their desk and go to another desk. They will talk together and

think of one positive adjective that describes the envelopes and turn this into a hashtag (e.g #, #colourful, #well-drawn, etc.)

• List some possibilities on the board; seek some more suggestions from the class 7. Hand out post-it notes to students. Students will use these to respond to each of the images

they see

Closure (Critique/Analysis of the Process) (5 minutes)

Closure: • Take a snapshot of the entire class holding their envelopes. Use this later to help learn their

names. • Students will tidy up their workspace and hand-in their envelops. • Once I’ve inspected the classroom and have all their envelops they may leave. • Remind them when they come in next class to move their marker on the board to present.

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Lesson 2: Blind Contour & Modified Blind Contour

TIME: One 80 minute class

GLO’s & SLO’s

Art 10: DRAWING • Record: Combine descriptions, expression, and cognition in the drawing process

• A. Subject matter and expressive intention can be depicted with a variety of notational marks • Communicate: Investigate varieties of expression in making images

• B. A drawing can be a formal, analytical description of an object ENCOUNTERS • Sources of Images: Investigate the process of abstracting form from a source in order to create objects

and images • A. Artists simplify, exaggerate, and rearrange parts of objects in their depictions of images

Art 20: DRAWING • Record: Combine descriptions, expression, and cognition in the drawing process

• A. Sketching and composing skills can be developed by drawing from representational sources • B. Developing expertise in one particular drawing medium may further develop personal compe-

tence

Learning Objectives

To begin training the hand to follow the eye to develop observational skills, so that they can transfer ob-served objects into line drawings 1. Recognize the different properties of lines (i.e type, weight, and width) and how these can add volume

and depth to a contour drawing 2. Translate an observed subject into a series of contour line drawings 3. Carefully analyze the proportions and form of an observed subject through drawing 4. Evaluate the application of contour lines and observational skills in their own work and that of their

peers.

Materials/Equipment/Setup

Art Supplies: • Thin Sharpies • Computer Paper • Pencil crayons. • Thin black markers • Thick black markers • Arrange desks into two rows facing each oth-

er • Long pieces of string • Tape • Paper plate (to cover the photo)

Prep & Assessment Materials: • Prep websites • Prep presentation • Checklist for final assignment • Two Stars and a Wish handout • Critique handout with inquiry questions that will help

them analyze the artworks, questions to see if students met all the checks for the final assignment

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Procedure:

Introduction: (e.g. visual display to teach art history & aesthetics, or give a demonstration) (15 min-utes)Introduction: • Drawing is also about observation. You need to be able to capture the shape of an object onto a piece of

paper. Practicing drawing contour lines will help you learn how to observe and draw better. • Open up presentation:

• Define contour lines: French word for “outline” = an art technique that consists of drawing the outline of a subject.

• Describe the shape of an object, and include interior detail. • Can be one of the first steps in creating a painting, but can also stand on its own. Simple, elegant,

and expressive art form. • Almost like handwriting, every artist who practices it for a long time develops their own unique

style. • Solid line = something that is static/not moving/rooted in place

• Show some examples of contour line drawings: • Contour lines vary in line weight (i.e.light or dark), width (i.e. thick or thin), and shape (e.g.

straight, curved, jagged/zig-zag • Dark & thick lines = something closer and/or shadowed • Thin & light lines = something further away and/or in the light.

• Typically show a static object • Notice: these are not quick drawings: thickness and thinness of the line vary, are thought out, and

they are detailed • Notice: no gingerbread men. The lines dip in and out of the figure to describe something inside

(e.g. a shadow, a body part, the curve of a limb, etc.) • Continuous Contour Line Drawing: A special kind of line drawing where the pencil stays on the pa-

per from beginning to end. • The exercise forces you to draw lines in places you wouldn’t have otherwise. This adds an in-

teresting almost abstract effect to the drawing. • HOWEVER, the interior lines are not random, they still describe something inside. Not just

connecting from Point A to Point B, but using the bridge of the nose or the shadows of the eye to get there.

• Demo on a power point, tracing over an image; show how you go slow and draw interior lines (e.g. ever wrinkle and crease within a hand)

• Can show them this website tutorial: http://edtech2.boisestate.edu/mossj/edtech511/as-signments/final.html

• Blind Contour Drawing: Like a continuous line drawing, you never take your hand off the page, BUT you also never LOOK at the page.

• Used as an exercise for learning hand-eye coordination = help you learn how to draw the things you see better.

• Trains you to spend more time looking at your subject than at your paper, because many artists tend to draw what they think they see and not what they really see - they look too much at the drawing and not enough at the subject

• Helps you focus on the details: forces you to work more slowly and spend more time observing the subject.

• Demonstrate blind contour drawing process • Have a student come up to the front and begin drawing them. • As I am drawing the object, I do not look at the paper. I only look at the object. • I place the marker on the paper, and move my eyes over the edges of the object. • When my eyes move, I move the marker at the same time. This helps me make a line that matches

the edges or contour of the object. • I keep my marker on the paper at all times, in order to make one continuous line. • See, after 4 years of taking art in university, this is what I learned how to make.

• Remember: Contour line drawings are not so much about the final product, but about the PROCESS. Practicing this repeatedly will help develop your hand-eye coordination and observation skills.

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Body (Studio Activity): Part 1: Blind Contours (45 minutes)

Activity: Blind Contour Musical Chairs/Speed Dating (15 minutes) Tables should already be arranged so that there are two lines facing each other. Students will pick a chair, and will draw the person across from them. For the first few times, have students stick their pencils through the centre of a paper plate and tape in place. They should be able to still hold their pencils, but it should also help cover up 1. Today, you are going to make a Contour Line Drawing of each other. The person directly across from you

will be the person you are drawing. 2. We’ re going to run this a bit like musical chairs, but without the competition. I’ll play some music for a

few minutes, and you will draw the person across from you. When the music stops, that’s your cue to get up and move one seat over. We’ll be going in a counter clockwise direction.

3. As you are creating your drawing, there are a few rules you have to follow (write on board): 1. Do not look at the paper (help each other with this) 2. Look only at the person across from you (like you would in a staring eye contest, only you can blink) 3. Keep the Marker on the paper at all times, creating one continuous line 4. Only draw what you see. 5. Try to fill the whole page (don’t make a tiny image in the center, make the face almost as large as the

picture plane) 4. First look at the top of the head of the person you are drawing, and put your marker at the top of your

paper. Then move your eyes slowly down the object, while your drawing hand moves at the same speed. 5. After 3 minutes, we are going to pause for a little bit. Go slowly. 6. Lift your marker wherever you are in the process and take a look at what you have created. If it looks a

little strange, that's okay. That's the point of this exercise. 7. Now place the marker at the spot where you ended and continue your drawing. Or, if you like, start a

new drawing (Reinforce the continuous line and slow observation procedure). 8. If you have extra time, you can now start colouring in your shapes with pencil crayon.

* Go around and offer formative feedback as they draw: watching they don’t look down and that they go slowly. In between each one, choose a few good examples and offer praise as well as suggestions for im-provement.

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Activity: Modified Blind Contour Musical Chairs/Speed Dating (5 minutes) • Explain modified blind contour drawings

• Use the website to review contour and blind contour concepts: • The website will then move on to modified blind contours

• Modified contour drawings: Similar to bind contour drawings EXCEPT that you can look down from time to time to reset (only a glance), and you can make many lines, not just one. • Artist only glances at their paper to place their pencil where they start a new line. • 10% of the time you are looking at your drawing; 90% of the time at your subject. • Goal: make a line that is authentic and true to what you are ACTUALLY seeing, and to train

your hand to follow your eye’s movements. Activity:(25 minutes) 1. Show them examples of overlapping contour drawings that we will be making today

1. note: the images overlap, but the items are spaced apart to make sure the composition isn’t too confusing

2. note: the objects float around in space at different angles 2. Have students select one of their better blind-contour drawings from the previous class (should take up

most of the page) 1. Outline it with a lighter, thinner marker

3. Choose a partner, and do a large, modified blind contour drawing in the center of the page. If it doesn’t work the first time, simply draw over top of it - don’t erase.

1. Make sure they draw LARGE 2. Draw with a large fat, dark marker (no pencil) 3. They can rotate the paper 180 degrees is they wish

4. Go over the lines in a black marker. 1. If you want to draw attention to certain details, make those lines thicker and darker 2. If you want to draw less attention to other details, or make them seem fainter and further away,

draw a thin light ling. 5. Use pencil crayons to being colouring the different overlapping shapes. [Show them the pictures again to

demonstrate what they should be working towards]

Closure (Critique/Analysis of the Process) (20 minutes)

Conclusion: (5 minutes) • Students will tidy up their workspace & lay out their drawings on the table • Contour line drawing is an exercise that forces the artist to visually examine an object and draw only

what is actually seen. You can continue this kind of drawing at home. The more you do it, the better you will be able to draw an object just by looking at it.

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Informal Walk Around • Intro to critique: (2 minutes)

• Sometimes one of the hardest, but most helpful things you can experience as an artist is a cri-tique.

• Right away, that word critique gets my hairs standing on end, because it makes me think we’re putting you under a microscope just so we can judge you. But when that’s bullying. There’s a difference between a good, constructive critique, because a good critique focuses on the art-work, not the artist, while also being sensitive to the artist’s feelings.

• Especially for the first few times, it’s easy to get defensive and to feel uncomfortable. But critique are really helpful, you can learn a lot from them, they can really help you become a better artist, and encourage you to try harder. So they are very important.

• Today, we are going to start practicing how to do a critique, so that at the end of the unit, when we look at each other’s final projects, we know how to do this properly.

• Instructions: (5 minutes) 1. First, we are going to do a gallery walk: we’ll all take some time walking around and looking at

each other’s artworks. 2. You’ll be given a handout with some questions written on it, and I want you to seriously consider

these as you walk around the room. These will focus on the… 1. Content and formal appearance of the work: 2. Your interpretation/opinion of what works well and what could be done to make it better

later or next time 3. Afterwards, in groups of 3-4, go around to any of the artworks that are not part of someone in

your group, and leave one post-it note behind. 4. On the post-in will be two stars and a wish.

1. The stars are two things the person did really well 2. The wish is one thing they can do to make their picture better or to think about if they

were to do the project again. 3. You will come up with these as a group

5. When you are done, hand in your final picture with the post-its still on the picture. Words of assurance: (1 minutes) • This will be difficult to do the first, but as we keep practicing, we’ll get better and better at talking about

art. And the better we get at talking about art and helping each other get better, the better artists we will become too. We’ll be more insightful and thoughtful about the decisions we make, and have the knowl-edge to strengthen our weaknesses.

• Remember, we’re not here to pick on one another, so no negative comments. That said, we’re also here to help. Being overly nice and not telling an artist how they do better is not helpful. We want to help each other grow. So be nice, but be constructive.

• After all, what does constructive mean? To build. We’re here to build each other up. Not tear each other down.

Critique: 1. Gallery Walk (5 minutes) 2. Post-it Note/Two-Stars-&-A-Wish Critique (5 minutes) 3. Hand in assignments w/ post-its and stand by the door (2 minutes)

Inquiry Process (Questions at the end of the unit that you would ask the students)

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Resources: carissajohnson.weebly.com/uploads/1/3/6/6/13667639/drawing_unit_plan_10.docx https://www.craftsy.com/blog/2014/01/graphite-drawing-techniques-contour-drawing/ https://prezi.com/8oqso6p2h0sc/blind-contour-drawing-egon-schiele/ https://en.wikipedia.org/wiki/Contour_drawing https://www.pinterest.com/pin/317855686184173870/?lp=true http://www.theartstory.org/artist-schiele-egon.htm http://thevirtualinstructor.com/blind-contour-line-drawing.html https://docs.google.com/document/d/1V5ExGZxnynC43YCpu0ww8zjfpMGwR1gE2aj266qJGXU/mobilebasic?pli=1&hl=en_US https://www.youtube.com/watch?v=Eu9sUWLfGng&feature=related

(1) Formal description, using the language of art (elements and principles (1) What types of lines did you use in your drawings? (blind or modified blind contour and continuous

line) (2) Where did you vary your line width and weight? How does this contribute to the composition? (im-

plied volume as well depth from shading) (3) Are the lines in the blind contour drawing continuous? Or do they stop and start? How can this be

remedied in future blind contour drawings? (2) What works well, and what could be done to add to the work

(1) In the modified contour drawing, do the lines move in and out of the subject? Or do we have a gin-gerbread man?

(2) Do the interior lines follow the curves of the form, or are they straight, and, therefore, flatten the im-age?

(3) Is it clear that the artist took their time carefully observing the subject? Or does it appear that they went too quickly?

(4) Did the artist vary their line weight and width to add interest, depth, and shadow to the image?

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Lesson 3: Shading & Mark Making

TIME: One 60 & One 80 min class

GLO’s & SLO’s

Art 10: DRAWING • Record: Combine descriptions, Expression, and cognition in the drawing process

• A. Subject matter and expressive intention can be depicted with a variety of notational marks • Investigate: Develop and refine drawing skills and styles

• B. Tactile qualities of surfaces can be rendered through controlled use of line. • Communicate: Investigate varieties of expression in making images

• B. A drawing can be a formal, analytical description of an object ENCOUNTERS • Sources of Images: Investigate the process of abstracting form from a source in order to create objects

and images • A. Artists simplify, exaggerate, and rearrange parts of objects in their depictions of images

Art 20: DRAWING • Investigate: Develop and refine drawing skills and styles

• C. Control of proportions and perspective enhances the realism of subject matter in drawing COMPOSITION • Components 1: Use of non-traditional approaches to create compositions in both two and three dimen-

sions • A. The use of non-traditional media affects the development of a two- or three-dimensional ob-

ject ENCOUNTERS • Impact of images: Become aware of the relationship between function and form in artistic productions

• A. The relationships of different features of a work of art may be compared to the total effect of the work

Learning Objectives

Complete a grey scale and use all of those shades within a drawing 1. Recall how different line types, weights, and widths can add depth, volume, and texture to a

line drawing 2. Recognize how differences in value adds volume, depth, and mood to an artwork (e.g.

chiaroscuro = dramatic; sfumato = softer, gentler) 3. Practice creating variations of value using line, shading, and blending techniques 4. Carefully analyze the proportions and form of a still-life subject through a series of observation-

al value drawings 5. Evaluate the application of value, shading, and observational skills in their own work and that of

their peers.

Materials/Equipment/Setup

Part 1: • Presentation • art pencils • erasers • value scale forms: different pencils &

chiaroscuro/sfumato form • Shading forms worksheet:

• 4-point & 9-point scales • Areas for drawing Sphere & cube

• Objects for still-life

Part 2: • Pens • Shading forms worksheet

• 4-point & 9-point scales • Different shapes to practice on

• Textured objects for still life • Glass Vase & flowers • folded fabric • non-traditional drawing tools/objects

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Procedure:

Introduction: (10 minutes)

Review: (1 minute) • Thus far, we’ve seen how line can be used to show shape and contours • For this lesson, we will be looking at how it can also express value and texture

Introduction: (8 minutes) 1. First, we will learn the basics of shading an object. 2. Value: refers to the properties of darks and lights used in a composition. The range of value

depends on how much light is reflected on the surface of the objects. 1. Values usually shown on a value scale, which shows the gradual change of lights to

darks - where white is at one extreme and back at the other 3. Value show form or gives form to shape

1. Q: what is the difference between a shape and a form? 1. Shape = 2D 2. Form = 3D

2. We have already learned how to use line to draw shape; now we’re going to learn how to add shading, in order to turn it into a 3D form.

4. Value exhibits depth and space 1. As we know from earlier, darker/thicker lines not only imply shadow, but also that some-

thing is closer vs. lighter/thinner lines show something further away and or in the light. 2. Thus, adding shading/value to an image a sense of depth and space. It does not appear

to be flat. 5. Value shows or develop mood or expression

1. Shading shows the lightness or darkness of a colour 2. Images that are mostly dark have a heavy feeling to them - sometimes sad or scary 3. Images that are mostly light have a lighter feeling - calm, gentle, serene 4. Chiaroscuro: when an image has extreme lightness and darkness = high contrast; In-

tensity = dramatic 1. Light (Chia) 2. Dark (Scuro)

5. Sfumato: when changes in tone/value are much slighter = lower contrast; Less intensity = less dramatic, softer, gentler, peaceful

Transition to body: (1 minute) One way we can shade an image is through blending

Body (Studio Activity)

Part 1: Shading (50 minutes)

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9-point Value scales: (10 minutes) 1. Demo: how to hold a pencil for shading vs. adding details 2. Hand out value scale forms: have students practice using the different types of pencils as well

as one that goes from white to black. 3. Demo how to make things lighter and darker:

1. We can make a shade darker by pressing harder with our pencils and adding more black

2. We can make shades lighter by pressing softer and only drawing a little 3. Different types of pencils will allow us to get darker or lighter values.

1. E.g. 6H pencil will be much lighter than an 8B pencil. No matter how many layers you add, it will never be darker

2. E.g. an 8B pencil will always be darker 4. Students will practice filling out their value scales

Shading an Cube Demonstration/Presentation: (15 minutes) 1. Hand out shading a sphere form 2. Highlights, midtones, shadows:

1. Before we can start shading an object, we need to establish where the light source is coming from

1. highlights will be the part closest to the light source 2. shadows will be the furthest away or be behind something that blocks it from the

light 3. mid-tones will be everything in-between

2. Show images of shaded objects and point out how each has highlights, mid-tones, and shadows.

1. In the case of a cube where 3 faces can be seen, mark off: 1. Side 1 = highlights 2. Side 2 = mid tones 3. Side 3 = shadows

2. In the presentation, show blank cubes with light sources coming from different directions. Ask students where they think the highlights, shadows, and mid-tones will be. Give them a second, then ask someone to come up and point them out.

3. Next, we need to make a light contour line [show pic, but also demo on board] 1. Don’t press too hard. We don’t want a thick black line outlining the shape. 2. Its always possible to go darker, but not always possible to go lighter. Even if you erase,

you may not be able to get rid of everything. There'll still be a mark. 4. Figure out where the dark areas are. Begin filling these in with your darker pencils 5. Start filling in the mid-tones

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Shading a Sphere Demonstration/Presentation: (15 minutes) 1. Hand out shading a sphere form 2. Show images of shaded objects and point out how each has highlights, mid-tones, and shad-

ows. 3. Before we can start shading an object, we need to establish where the light source is coming

from 1. highlights will be the part closest to the light source 2. shadows will be the furthest away or be behind something that blocks it from the light 3. mid-tones will be everything in-between

4. Next, we need to make a light contour line. 1. Don’t press too hard. We don’t want a thick black line outlining the shape. 2. Its always possible to go darker, but not always possible to go lighter. Even if you erase,

you may not be able to get rid of everything. There'll still be a mark. 5. Figure out where the dark areas are. Begin filling these in with your darker pencils 6. Note: Remember to look for areas of reflected light on the shadow sides of objects. Almost

everything reflects light at least a little bit, and leaving those areas lighter will make your draw-ings much more three-dimensional.

7. After your dark shadows are done, begin to work on the lighter tones all the way up to white. 8. Adjust as needed. Make your shadows darker if you need to, and make sure that your mid-

tones get gradually darker the closer you get to the shadows, and gradually lighter the closers you get to the light source

9. Add a shadow at the base of the sphere. It should start of darker near the object, and get lighter the further away it stretches

10. Use a blender or paper towel. Carefully apply pressure and begin blending the graphite.

Walk around as students work, pulling examples to show the class, as well as offering individual advice to those who are struggling. If I see a common problem, address the whole class.

Transition to Part 2: (10 minutes) • Students will tidy up their workspace • Tomorrow, we will explore other ways of shading a form (e.g. stippling, hatching, cross-hatch-

ing, contour shading, broken line, and hard edge)

Part 2: Mark-making (80 minutes)

Review: (10 minutes)

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Review: (9 minutes) [open presentation] • Value: the change from light to dark in a picture • Line weight & width

• Width: Thickness/Thinness of line • Weight: Darkness/lightness • Thick and/or dark lines = convey shadow; indicate that something is closer to the view-

er; draws the eye to the area of interest • Thin and/or light lines = Indicate when something is further away; ALSO mid-tones or

highlights • Thus, while blending can be used to add shading/value to an image, line can also do the same

thing. • Go over the value scales they did the class before:

• B pencils are darkers vs. H pencils lighter, • press harder or lighter to get darker or light values • value adds form, depth/space, mood/emotion (chiaroscuro or sfumato) • mid-tones, highlights, shadows

[Pull some examples from the previous class that are good but also have something to as-pire to] • Review the steps they took when shading the sphere and the cube [write steps on board]

1. Establish where the light source is coming from 2. begin drawing a light contour drawing 3. note where the highlights are 4. block in the shadows (don’t forget about reflected light) 5. fill in the area in-between with varying mid-tones 6. Add in shadows that are darker near the base, then get lighter as it stretches away - like

a grey scale

Transition to Part 2 Intro: (1 minutes): Today we are going to learn how to create value without blending. Instead, we’ll look at some other line drawing techniques.

Intro: (15 minutes)

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Intro: Types of Mark-making (10 minutes) A. Hatching: Creates tonal or shading effects using closely spaced parallel lines • Show picture in slide share link of hatching getting darker

• The quantity, thickness, & spacing of the line will affect the brightness of the overall im-age

• increasing the quantity, thickness, and closeness of the lines = a darker shade • Hatching lines should always wrap around the form to avoid flattening it

• Show images of where hatching lines follow the form of the object vs. flattening it (e.g. the picture of the hand and feet)

B. Cross Hatching: Like hatching, cross hatching uses lines to create various tones or shades • However, these lines are placed at an angle to one another. • Usually the first layer is vertical, then the next is horizontal • go through images and show

• how when there is little to no marks it appears to be a highlight, areas of solid black are dark shadows

• the closer and denser the lines are = the darker it appears C. Contour hatching: The direction of line helps suggest contours. • Hatching that follows a contour can also help to make objects appear more 3D D. Scrumbling: Uses layers of small scribbled marks to build up value and texture. • Varying the direction adds more interest than a simple circular scribble E. Stippling: A pattern of small dots can create gradations of light and dark • the denser & darker the dotes = the darker the shade • the lighter * sparser the dots = the lighter the tone • Allows for more subtle variations of shading than hatching or cross hatching. F. Patterns & Texture: • These lines also create patterns and textures • Caution: Do not overload an image with patterns and textures, as this can make your image

chaotic and obscure the subject • Go through drawings of different animals and plants, showing how different lines help convey

different textures • Show pictures in slide share link by Durer & Van Gogh (incorporate this into classroom presen-

tation) How to use a pencil to measure: (5 minutes) 1. Identifying angles:

1. To make sure the diagonal lines in the picture are correct, matched your pencil to the angles of the still-life arrangement

2. Then moved your hand (while keeping the pencil at the same angle) in front of my paper to make sure the angles that you draw lines up.

3. This is a great way to get correct perspective lines, edges of buildings. Just make sure that you don’t subconsciously change the angle of your pencil to match your drawing.

2. Measuring size: 1. Try to use the dots on the view-finder as a guide, but when that doesn’t work, you can

use your pencil too. 2. Hold it up at arms length. Use the line at the top of the pencil to mark the top of whatev-

er object you’re trying to size-up 3. Place a finger or a thumb to mark the bottom of the object. 4. Transfer it over to your page. 5. note: because the objects you’re drawing will be the same size as you see in your

viewfinder, you can just make them the same size. If you were scaling up or down, you would have to choose one object the be a reference for the rest. You would compare the size of all the other objects in relation to the size of the first object.

Activity: (35 minutes)

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Provide some basic forms (e.g. preferably from the math classroom?) and arrange a still-life for students to draw Art 10 Assignment: Multiple-Marks Simple Still-Life (30 minutes) 1. Set out a series of simple forms for students to draw 2. Remind students how to use their pencils to mark-in the basic proportions 3. After which, they should begin making a contour drawing

1. They can look at their paper, but should also try to focus on the object and drawing what they see and NOT what they THINK they see

2. They do not need to make a continuous line, but they do need to avoid making sketchy marks

3. Draw lightly, so that there is no solid line 4. Once they have outline the basic shapes, they can begin shading it in using a variety of marks

for each section. They should incorporate all five [write these down on the board] 1. Note where the lightest areas are and block in the shadows and mid-tones

Set up a still-life of glass objects and fabric. Arrange a still-life for students to draw Art 20 Assignment: Multiple-Marks Glass & Fabric Still-Life (30 minutes) 1. Once the Art 10s are under way, pull aside the Art 20s 2. Will also do a still-life drawing but of a more complex subject that involves reflections and

shadows 1. Instead of simple geometric forms, they will draw fabric and perhaps a glass vase with

flowers. 2. I will show them how to draw reflections and shadows

3. On top of this, I will also provide them with a series of non-traditional drawing implements for them to use

4. Have them note how the different drawing implements change the way the image looks from a typical pencil, charcoal, or ink drawing.

Clean up: (5 minutes)

Closure (Critique/Analysis of the Process) (20 minutes)

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Informal Walk Around Instructions: (2 minutes) 1. First, we are going to do a gallery walk: we’ll all take some time walking around and looking at

each other’s artworks. 2. You’ll be given a handout with some questions written on it, and I want you to seriously consid-

er these as you walk around the room. These will focus on the… 1. Content and formal appearance of the work: 2. Your interpretation/opinion of what works well and what could be done to make it better

later or next time 3. As well as how the images makes you feel, and what it makes you think about, and

what kind of tactile sensation the lines suggest 3. Afterwards, in groups of 3-4, go around to any of the artworks that are not part of someone in

your group, and leave one post-it note behind. 4. On the post-in will be two stars and a wish.

1. The stars are two things the person did really well 2. The wish is one thing they can do to make their picture better or to think about if they

were to do the project again. 3. You will come up with these as a group 4. Make sure to leave your name as well

5. When you are done, hand in your final picture with the post-its still on the picture. Critique: (15 minutes) 1. Gallery Walk (5 minutes) 2. Post-it Note/Two-Stars-&-A-Wish Critique (8 minutes) 3. Hand in assignments w/ post-its and take a seat (2 minutes)

Exit slips: (3 minutes) What did you learn from your critique? What did you do well? What were some suggestions from your classmates? What skills do you think you need to work on?

Inquiry Process (Questions at the end of the unit that you would ask the students)

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Resources: carissajohnson.weebly.com/uploads/1/3/6/6/13667639/drawing_unit_plan_10.docx

Part 1-2:http://mhsart1.wikispaces.com/Color+and+Value+as+in+Black+and+Whitehttp://www.artwithmre.com/2011/05/line-design-wshading-4th-grade.htmlhttps://magsphelan.wordpress.com/2012/09/27/exercise-holding-pens-and-pencils/https://www.slideshare.net/janishenderson/introduction-to-drawing-16239092http://emptyeasel.com/2006/12/08/how-to-draw-what-you-see-techniques-and-tips-to-improve-your-draw-ing-skills/

Part 3: https://elamarthistory.com/art-1/art-1-1st-nine-weeks/2-2-value-scales-and-study/ https://www.slideshare.net/elemICT/line-drawing-techniques?next_slideshow=1http://www.drawinghowtodraw.com/drawing-lessons/improve-drawing/hatching-cross-hatching.htmlhttps://magsphelan.wordpress.com/2012/10/09/exercise-mark-making-techniques/https://www.slideshare.net/missfcmay/line-drawing-and-mark-makinghttps://www.tes.com/teaching-resource/introduction-to-mark-making-6444637https://adeljournal.files.wordpress.com/2012/04/pdflesson1.pdfhttp://www.drawinghowtodraw.com/drawing-lessons/improve-drawing/hatching-cross-hatching.html

(1) Formal description, using the language of art (elements and principles) (1) Where are the highlights, mid-tones, and shadows? (2) Do the objects in the picture look like flat shapes or do they appear to be 3D forms? (3) How would you describe the variations of value in this image?

(1) Is there a lot of contrast between the highlights and the shadows (i.e. more highlights and shadows than mid-tones) (e.g. chiaroscuro or sfumato)

(2) Is there very little contrast in the image (i.e some highlights and shadows, but mostly mid-tones)

(4) What kinds of lines and mark-making techniques did the artist use to draw the subject? (e.g. stippling, hatching, cross-hatching, blending, contour hatching, scrumbling, or random hatching)

(5) What kinds of lines and mark-making techniques did the artist use to add volume/shading-ing to the subject? (e.g. stippling, hatching, cross-hatching, blending, contour hatching, scrumbling, or random hatching)

(2) Metaphoric/interceptive meaning (e.g. it reminds me of….) (1) How does the value influence the mood of the image? (e.g Chiaroscuro = dramatic; sfuma-

to = softer, gentler) (2) How do the different types of lines change the texture of an image? How does it look like it

would feel to touch? (3) How do the different types of line change the mood/feeling of an image? What emotion

does it make you feel? (3) What works well, and what could be done to add to the work

(1) If the image appears flat, with little variation in value/tonality, what can we do to fix this? (2) Do the contour lines surrounding the object making a dark outline?

(1) Does this make the image look more realistic or less realistic? (2) What can we do to ensure we do not have a thick dark outline surrounding our forms?

(3) Did the artist draw the shapes true to size? Are they proportional? How can we use our view finders and pencils to ensure we are able draw the subject the right size?

(4) Do the angles look right? How can we make sure we measure the right kind of angle with our pencils?

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Lesson 4: Live-Action Gesture Drawings TIME: One 60 & One 80 minute class

GLO’s & SLO’sArt 10 DRAWING • Record: Combine descriptions, expression, and cognition in the drawing process

• A. Subject matter and expressive intention can be depicted with a variety of notational marks • B. The expressive content of drawing is affected by the drawing media selected

COMPOSITION • Relationships 1: Solve teacher-directed spatial problems of movement and direction in the creation of compositions

• A. Movement, rhythm, and direction are used in recording humans and their activities. ENCOUNTERS • Sources of Images: Investigate the process of abstracting form from a source in order to create objects and im-

ages • A. Artists simplify, exaggerate, and rearrange parts of objects in their depictions of images

Art 20: COMPOSITION • Components 1: Use of non-traditional approaches to create compositions in both two and three dimensions

• C. Chance occurrences or accidental outcomes can influence the making of a work of art • Organizations: Demonstrate control over various components of compositions

• A. Developing several approaches to a single problem can demonstrate a refinement of organization and structure in composition

ENCOUNTERS • Sources of images: Recognize that while the sources of images are universal, the formation of an image is influ-

enced by the artistic choice of medium, the time, and the culture • B. Artists and craftspeople use the possibilities and limitations of different materials to develop imagery

• Impact of images: Become aware of the relationship between function and form in artistic productions • A. The relationships of different features of a work of art may be compared to the total effect of the work

Learning ObjectivesStudents will learn the main characteristics of gesture drawing and experiment with gestural figures through observational drawing exercises. 1. Students will identify four main characteristics of gesture drawings from observing a series of

examples. 2. Label the foundational structure of a gesture drawing 3. Experiment with gestural figurative drawing through observational drawing exercises 4. Self- and peer-assess their ability to capture the essence of a pose

Materials/Equipment/Setup• Set up presentation on smart board • Write Topic and Agenda on the board • Sketchbooks • Charcoal and/or 2B, 3B, or 4B soft drawing pencil • Gesture Drawing Handout • Large sheet of newsprint for demo (and charcoal) • Arrange classroom so that the desks are on the outside edge. Have student models in the mid-

dle. • non-traditional drawing tools • pencil crayons, markers, pencils, charcoal, ink

Procedure:

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Introduction: (e.g. visual display to teach art history & aesthetics, or give a demonstration) (10 minutes)

Review: (5 minutes) 1. Review different types of lines [Write these on the board]

• Continuous lines: Depict the boundary of the object; depicts something that is static • Contour Lines and Bind Contours • Line weight, thickness

2. We also talked a bit about how value, such as chiaroscuro and sfumato, can convey mood. To-day we’ll be looking into how they express mood/feeling and movement

• Q: What is mood? = Feeling • Q: For example, if you wanted to convey something with a lot of energy, what would you

use: curvy, straight, or zig-zag lines? • Q: If you wanted something to be soft and gentle, what kind of line would you use:

curvy, straight, or zig-zag lines? • Q: What kind of moods might a straight line convey?

3. Lines also have direction. For example: • Horizontal lines are usually clam, repose, and balanced. Can also imply movements

from side to side. • Vertical lines convey height, stability, strength. • Diagonal lines express action, movement, and tension

4. Contour vs. gestural (dynamic = more interesting) 5. Go over agenda (may take more than one day)

Transition to body: (5 minutes) 1. First we will start our lesson looking at the different types of lines used in gesture drawings, and

talk about the different moods/feelings these add to the image 2. Then we will examine a few gestural drawings to see how they are constructed. This will pro-

vide clues for how we can go about it. 3. Then we’ll begin a live-action drawing, where we will take turns drawing each other in action

poses. As a result, we will focus on gestural lines and how they communicate movement in pic-ture.

• Goal: Capture the movement and essence of a figure in very little time • Need to feel the movement of the whole, and the impulse for their movement • E.g. feelings of sadness/hopelessness or joy will show in many ways through a

person’s body language • Why: This is an important skill for artists to develop

• When we draw from life subjects do not usually stay still for long. • Improves our drawing ability: develop an instinctive understanding of human

proportions and become more intuitive • Note: Many artists prefer drawing from life vs. using photographic references

• Can see subject from multiple angles • Image isn’t distorted by a lens • Can capture something more true to life

Body (Studio Activity): Part 1: Group Discussions & Marking out the Figure (20 minutes)

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Whole Class Discussion/Presentation: (10 minutes) Project a series of images on the smart-board for students to examine. Try to have them identify a few key features/characteristic these drawings all share

1. Done quickly: a. While contour drawings are done very carefully, these are not. Generally done in 5

minutes or less. b. Loose and quick. c. Hand always moving

2. Sketchy: Uses many lines to describe the form. Certain amount of guesswork involved. Draw in the interior and exterior lines depicting interior contours, folds of fabric, the volume of the form, and shadows.

3. Little detail in a short amount of time: a. Gesture drawings are used as studies for larger works (though they can stand on

their own). b. However, once we begin adding details or shading, it’s no longer a gesture drawing.

We are no longer be practicing the ability to draw correctly from an instant impres-sion.

4. Action line: from the top of the head or the tips of the finger to the feet. Shows the line of movement - like a central wire/axis that goes inside the figure.

a. Go through slides that show the action line in red - trace the line

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* Include some images that are made with gestural lines that involve a bit of chance and/or make with alternative/non-traditional drawing materials. There is already some chance involved in ges-ture drawings, so these add further to that. Letting go of control can lead to some beautiful art-works Marking out the form: (10 minutes) Hand out Gesture Drawing Handout, we’ll be going through the steps as a class

1. Action Line: This takes us to the first part of our lesson, identifying the action line. Every-thing else will be built around this

a. Project an image of a ballerina/athlete on the board. b. Remember, that the action line can start at the fingers (if the arm is raised), or at the

head, and goes all the way down to the toes. It will probably curve. c. Demonstrate the first one. d. Then turn go to the next slide where there are many figures e. Have about 4 students come up one-at-a-time and mark where the action line is in

red. 2. Head, arms, and hips: Next, we have to mark the shoulders and the hips, so we can make

sure it is proportional, and know where to put the arms and limbs. a. Go back to previous slide, and demo with green smart board marker b. Have 4 new students come up one-at-a-time and mark where the head, hips, and

shoulders in green. 3. Limbs: Finally, before we start filling out the body, we’ll want to mark where the arms and

legs are. We won’t trace the outside, but instead mark a line that runs along the inside of the limb. It should end up looking a bit like a stick figure.

a. Go back to previous slide, and demo with blue smart board marker b. Have 4 new students come up one-at-a-time and map the arms in blue.

If there is more time, give them a few print outs of different figures, and have them practice tracing the action line, hips, waist, and limbs.

Transition to Next Lesson: (5 minutes) • Students will tidy up their workspace • Next class we will create out own live-action gestural drawings

Body (Studio Activity): Part 2: Demonstration of Figure Drawing (5 minutes)

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Review: (3 minutes) 1. The characteristics of gesture drawings:

1. Done quickly: Loose and quick; Hand always moving 2. Sketchy: Uses many lines to describe the form.

• Draw in the interior and exterior lines depicting interior contours, folds of fabric, the volume of the form, and shadows.

3. Little detail in a short amount of time: once we begin adding details or shading, it’s no longer a gesture drawing.

4. Action line: from the top of the head or the tips of the finger to the feet. Shows the line of movement - like a central wire/axis that goes inside the figure.

2. How to make out a form: Action line; head, arms, & hips; Limbs 3. How to add mood using line:

• Type: Curvy = soft/gentle; zig zag = energetic; straight = solid/firm/steady • Direction: horizontal = calm/balanced; vertical = hieght/stability/strength; diagonal = ac-

tion/movement/tension • Weight/Tickness: Dark/thick: stronger/shadow; thin/light = softer/lightness/gentle

Demonstration (2 minutes): (alternatively, can show them the video) 1. Relax, clear your head, loosen up grip on pencil 2. Review: Where do I start again?

a. Draw the line of action line from the head/fingertips to the toes - one continuous fluid line

b. Draw the head c. Mark out the spine and hips d. Draw interior lines of arms and legs (should look like a stick figure)

3. Next step: Quickly start filling in the torso, arms, and legs 4. Notice this as I draw:

a. Using simple, fluid lines AND not drawing the details - trying to capture the “essence” of the gesture

b. Start with light lines and gradually make them darker as you go and become more confident

c. Look for the overall form, not details d. Focus more on the subject vs. your drawing e. Draw quickly and stay loose (draw from shoulders or elbows vs. wrists) f. Constant movement g. Let the lines move both in and out of the figure like a skier. We’re not just drawing the

contours, we want to draw the shadows, folds of the fabric, interior contours, etc. h. No erasing: Don’t worry about/erase stray marks

i. It’ okay to go over the same areas more than once, until you feel you’ve cap-tured the movement or curve

Body (Studio Activity): Part 3: Live-Action Timed Gestural Drawings (25 minutes)

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Art 20 Assignment: Timed Gestural Drawings (20 minutes): Now it’s your turn to try. 1. Grab out your sketchbooks 2. We are going to divide the class into 2:

a. 1’s, you will be our models b. 2’s, you will be our artists

3. Models will choose an action pose (e.g. throwing a football - nothing inappropriate)that they can hold for 3 minutes

4. Artists will choose a student they would like to draw. 5. After you draw them for 5 minutes, models will change their poses, and artists will draw

them for 3 minutes, then 1 minute, 30 seconds, and finally 15 seconds a. These drawings do not have to take up the whole page: you can have more than one

gestural drawing on a single page in your sketchbook 6. We will repeat this process two times, so that everyone has had a chance to be a model

and an artist 7. Walk around the room and guide students as necessary while they draw the gesture. Re-

mind students: a. to work quickly b. that this is practice c. starting over on the same page of the sketchbook/journal is allowed d. avoid gingerbread men e. make sure their lines are like skiers - they move in and out of the object

8. Give a verbal warning when 30 seconds has elapsed. 9. Say, “Stop” when 1 minute has elapsed. Rotate students

Art 20 Assignment: Timed Gestural Drawings (20 minutes): 1. While the Art 10s do their drawings using pencils and pencil crayons, the Art 20s will complete

their drawings using a series of non-traditional drawing implements provided for them to use. • Each of these will be difficult of control to bring in aspects of chance into the work

• e.g. a feather, string dipped in ink, 2. Have them note how the different drawing implements change the way the image looks from a

typical pencil, charcoal, or ink drawing.

Closure (Critique/Analysis of the Process) (50 minutes)

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Overview • Students will select two of their favourite figure drawings, as well as their first drawing • Go through as a class and look over what everyone accomplished.

Informal Gallery Walk (2 minutes) 1. Gallery walk: we’ll all take some time walking around and looking at each other’s artworks. 2. You’ll be given a handout with some questions written on it, and I want you to seriously consid-

er these as you walk around the room. These will focus on the… 1. Content and formal appearance of the work: 2. Your interpretation/opinion of what works well and what could be done to make it better

later or next time 3. As well as how the images makes you feel, and what it makes you think about, and

what kind of tactile sensation the lines suggest 3. Later, we will go around, and each of you will get to talk a bit about your artwork. Don’t worry, I’ll

help you. 4. Afterwards, in groups of 3-4, go around to any of the artworks that are not part of someone in

your group, and leave one post-it note behind. 5. On the post-in will be two stars and a wish.

1. The stars are two things the person did really well 2. The wish is one thing they can do to make their picture better or to think about if they

were to do the project again. 3. You will come up with these as a group 4. Make sure to leave your name as well

6. When you are done, hand in your final picture with the post-its still on the picture.

Critique: 1. Gallery Walk (5 minutes) 2. Presentations (30 min) 3. Post-it Note/Two-Stars-&-A-Wish Critique (8 minutes) 4. Hand in assignments w/ post-its and take a seat (2 minutes)

Exit slips: (3 minutes) What did you learn from your critique? What did you do well? What were some suggestions from your classmates? What skills do you think you need to work on?

Inquiry Process (Questions at the end of the unit that you would ask the students)

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Resources: https://artsedge.kennedy-center.org/educators/how-to/tipsheets/student-critique.aspxhttps://www.goshen.edu/art/ed/critique1.htmlhttps://www.theartofed.com/2014/03/18/10-creative-critiques-to-try-this-school-year/

For Part 1-2: (1) Formal description, using the language of art (elements and principles)

(1) 1) What types of lines do we see in the drawing (e.g. broken, continuous, curvy/arabesque, zig-zag, straight)’

(2) What direction do the lines go: horizontal, diagonal, vertical? (2) Metaphoric/interceptive meaning (e.g. it reminds me of….)

(1) How does the line type add to the overall mood of the image? How does it make you feel? (2) How does the line width and weight add to the overall mood of the image? How does it

make you feel? (3) How does the line direction add to the overall mood of the image? How does it make you

feel? (4) Based on the mood/feeling and the subject depicted in the image, what kind of message do

you think the artist is trying to communicate through their art? (3) What works well, and what could be done to add to the work

(1) Do the lines all go from one end to the other, or do they end randomly in the middle of the page?

(2) Do you think the line type the artist chose suit the music? If not, what other kind of line might work better? Why?

(3) Do you think the line weight and thickness suit the music? If not, what might work better? Why?

(4) Do you think the line direction suits the music? If not, what might work better? Why?

For Part 3-4: (1) Formal description, using the language of art (elements and principles)

(1) Does the figure look like a gingerbread man (i.e. only drawing the exterior contours/outline) or do the lines also move within the figure? (1) Did they draw in the clothing, shadows, interior contours such as facial details, or the

volume of the form? (2) Do the lines move in and out of the figure like a skier?

(2) Are the lines sketchy or neat and orderly? (3) Is there a little detail or a lot? (4) Where is the action line?

(2) Metaphoric/interceptive meaning (e.g. it reminds me of….)? (1) How do the lines depict movement? Which way or how is the figure moving? (2) What, do you think, is the motivation behind the figures movements? Why are they moving

this way? (3) Is there any emotion or feeling behind the figure’s actions?

(3) What works well, and what could be done to add to the work? (1) Do the lines capture the essence or impulse of the movement? Or does it feel still? If so,

what can the artist add or do differently to better capture the action of the figure? (2) Did the artist properly block in the proportions (head, arms, hips, and limbs)? (3) If the image is neat and orderly, what can the artist do to loosen up? (4) If the image has a lot of detail, what can the artist practice doing to help them focus on the

essence of the movement/figure versus focusing too much on the details?

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http://www.bartelart.com/arted/critique08.htmlhttp://blackmonart.weebly.com/gesture-drawing.html http://thehelpfulartteacher.blogspot.ca/2013/10/gesture-drawing-giving-human-figure.html http://www.incredibleart.org/lessons/rhodes/gesture.html http://www.ndoylefineart.com/gesture3.html http://thevirtualinstructor.com/gesturedrawing.html http://dig111.blogspot.ca/2016/01/week-3-gesture-drawing-and-drawing-on.html http://www.splatboom.com/DrawingPage7.html http://blackmonart.weebly.com/gesture-drawing.html http://hubpages.com/art/joyofdrawing http://wasbella102.tumblr.com/post/48121957835\

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Video: http://thevirtualinstructor.com/gesturedrawing.html

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Art 10: Mood Drawing Diptych Assignment Handout & Checklist

Objectives:

Assignment Description: Artists will choose a personal inanimate object to draw. They will make 2 separate drawings, each showing a different mood or emotion, by using a variety of line types.

Requirements: Complete 2 separate drawings of the same object Show a different emotion/mood in each drawing

E.g. if the first drawing shows “anger”, the second one should be something different like “sadness”

Use a different kind of line in each drawing that best shows the mood you want to capture E.g. If you use zig-zag lines in one drawing, choose a different line type for the sec-ond.

Use a variety of line weights, thicknesses, and/or directions in a way that adds to the mood.

DRAWING • Record: Combine descriptions, Expression, and cognition in the drawing process

• A. Subject matter and expressive intention can be depicted with a variety of nota-tional marks

• B. The expressive content of drawing is affected by the drawing media selected • Investigate: Develop and refine drawing skills and styles

• B. Tactile qualities of surfaces can be rendered through controlled use of line. • Communicate: Investigate varieties of expression in making images

• B. A drawing can be a formal, analytical description of an object • Articulate and Evaluate: Discussing the components of composition is part of learning to

talk about art. • A. Discussing the components of composition is part of learning to talk about art

COMPOSITION • Relationships 1: Solve teacher-directed spatial problems of movement and direction in the

creation of compositions • A. Movement, rhythm, and direction are used in recording humans and their activi-

ties. • Relationship 2: Use the vocabulary of art criticism to develop and accept analysis of their

own work. • A. Describing and discussing media and techniques used in one’s own works will de-

velop vocabulary. • B. Describing and discussing components of design are part of the process of ana-

lyzing one’s own work

ENCOUNTERS • Sources of Images: Investigate the process of abstracting form from a source in order

to create objects and images • A. Artists simplify, exaggerate, and rearrange parts of objects in their depictions

of images

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Evaluation Criteria: I purposefully used a minimum of 3 different types of lines in my diptych so that each draw-ing featured a different line type. The lines I used added to the overall mood of in each drawing.

I purposefully used line type to add to the moods of my drawings I purposefully used line direction to add to the moods of my drawings I purposefully used line width and weight to add to the moods of my drawings

My use of light and dark (value) in the image added to the overall mood of each drawing I carefully observed the subject to create an accurate drawing:

I used a viewfinder and a pencil to accurately measure the proportions of the subject I used a pencil to accurately measure the angles of the subject

Rubric

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Excellent 4

Good 3

Satisfactory 2

Needs Improvement 1

Drawing Skills 25%

- Demonstrates exem-plary attention to detail, resulting in highly so-phisticated imagery.

Students drawings demonstrates good attention to detail,

resulting in an accomplished rendering of

imagery.

Students drawings demonstrates a developing attention to detail, resulting

in an fair rendering of imagery.

Students drawings demonstrates next to no

attention to detail, resulting in an weak

rendering of imagery.

Technical Skills 25%

Highly skillful application of media and shading

techniques (e.g hatching, cross-hatching, stippling,

blending) to create volume, texture, and

spatial depth.

Skillful application of media and shading

techniques (e.g hatching, cross-hatching, stippling) to create volume, texture,

and spatial depth.

Simplistic application of media and shading

techniques (e.g hatching, cross-hatching, stippling) to create volume, texture,

and spatial depth.

Weak application of media and shading

techniques (e.g hatching, cross-hatching,

stippling) creating a mostly flat and toneless

image.

Content 25%

- Student expertly estab-lishes a mood/feeling in their drawings through critical and purposeful use of value and line

(i.e. type, weight, direc-tion, thickness)

- Student insightfully and masterfully employs at

least 2 different types of lines in their diptych

- Student skillfully estab-lishes a mood/feeling in their drawings through thoughtful use of value

and line (i.e. type, weight, direction, thick-

ness) - Student thoughtfully and

skillfully employs at least 2 different types of lines

in their diptych

- Student somewhat es-tablishes a mood/feeling in their drawings through basic use of value and line (i.e. type, weight, direction, thickness)

- Student employs 2 dif-ferent types of lines in their diptych fairy well, but a little more critical thought regarding how

this will contribute to the mood

- Student does not es-tablishes a mood/feel-ing in their drawings as use of value and line

(i.e. type, weight, direc-tion, thickness) are

unintentional - Student uses only 1

type of lines in their diptych and/or does so without thinking about how it will contribute to

the mood.

Critique Presentati

on 25%

Student excellently articulates the symbolic

meaning of all three images in their diptych.

Ideas and rationale demonstrate a deep critical thought and

reflection.

Artist statement clearly/adequately articulates the symbolic meaning of all

three images in their diptych. Ideas and

rationale demonstrate a some thought and

reflection.

Artist statement simply articulates the symbolic

meaning of all three images in their diptych.

Ideas and rationale demonstrate superficial thought and reflection.

Artist statement hardly or does not articulates the symbolic meaning of all

three images in their diptych. Ideas and

rationale demonstrate very little thought and

reflection.

Art 20: Mood Drawings Using Traditional & Non-Traditional Media Assignment Handout & Checklist

Objectives:

Assignment Description: Artists will choose a personal inanimate object to draw. They will make 2 separate drawings, each showing a different mood or emotion, by using a variety of line types. The first drawing will be a controlled contour line drawing, whereas the second will be a sponta-neous gestural line drawing created using a non-traditional drawing of the student’s own making.

Requirements: Complete 2 separate drawings of the same object

The first drawing will be a contour line drawing made using a traditional drawing medi-um (e.g. pencils, ink, graphite, chalk, pastels, etc.) The second will be an experimental gesture drawing. The artist will draw their image using an invented drawing tool made from found materials.

Show a different emotion/mood in each drawing E.g. if the first drawing shows “anger”, the second one should be something different like “sadness”

Use a different kind of line in each drawing that best shows the mood you want to capture E.g. If you use zig-zag lines in one drawing, choose a different line type for the second

Use a variety of line weights, thicknesses, and/or directions in a way that adds to the mood. Create a drawing tool for your second image. Think about what kind of mark it will make and how this can add to the image’s overall expression of mood.

DRAWING • Record: Combine descriptions, Expression, and cognition in the drawing process

• A. Sketching and composing skills can be developed by drawing from representa-tional sources

• B. Developing expertise in one particular drawing medium may further develop per-sonal competence

• Investigate: Develop and refine drawing skills and styles • C. Control of proportions and perspective enhances the realism of subject matter in

drawing COMPOSITION • Components 1: Use of non-traditional approaches to create compositions in both two and

three dimensions • A. The use of non-traditional media affects the development of a two- or three-di-

mensional object. • C. Chance occurrences or accidental outcomes can influence the making of a work of

art • Organizations: Demonstrate control over various components of compositions

• A. Developing several approaches to a single problem can demonstrate a refinement of organization and structure in composition

ENCOUNTERS • Sources of images: Recognize that while the sources of images are universal, the forma-

tion of an image is influenced by the artistic choice of medium, the time, and the culture • B. Artists and craftspeople use the possibilities and limitations of different mate-

rials to develop imagery • Impact of images: Become aware of the relationship between function and form in artistic

productions • A. The relationships of different features of a work of art may be compared to the

total effect of the work

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Evaluation Criteria: I purposefully used a minimum of 3 different types of lines in my diptych so that each draw-ing featured a different line type. The lines I used added to the overall mood of in each drawing.

I purposefully used line type to add to the moods of my drawings I purposefully used line direction to add to the moods of my drawings I purposefully used line width and weight to add to the moods of my drawings

My use of light and dark (value) in the image added to the overall mood of each drawing I carefully observed the subject to create an accurate drawing:

I used a pencil to accurately measure the proportions of the subject I used a pencil to accurately measure the angles of the subject

The non-traditional drawing tool I created create very different types of lines that add to the overall mood of both images. I experimented with and explored the tool’s range of possibilities and limitations for ex-pression.

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Rubric

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Excellent 4

Good 3

Satisfactory 2

Needs Improvement 1

Drawing Skills 25%

- Demonstrates exem-plary attention to detail, resulting in highly so-phisticated imagery.

Students drawings demonstrates good attention to detail,

resulting in an accomplished rendering of

imagery.

Students drawings demonstrates a developing attention to detail, resulting

in an fair rendering of imagery.

Students drawings demonstrates next to no

attention to detail, resulting in an weak

rendering of imagery.

Technical Skills 25%

- Highly skillful application of media and shading techniques (e.g hatch-

ing, cross-hatching, stippling, blending) to

create volume, texture, and spatial depth.

- Student utilizes the Non-traditional drawing tool to its fullest extent, exploring the range and limitations of the materi-

al. -

- Skillful application of media and shading

techniques (e.g hatch-ing, cross-hatching, stip-pling) to create volume,

texture, and spatial depth.

- Student explores the range and limitations of

their Non-traditional drawing tool but remains sometimes convserva-tive in how they handle

the material

- Simplistic application of media and shading tech-

niques (e.g hatching, cross-hatching, stippling)

to create volume, tex-ture, and spatial depth.

- Student explores the range and limitations of

their Non-traditional drawing tool but is often

convservative in how they handle the material

- Weak application of media and shading

techniques (e.g hatch-ing, cross-hatching, stippling) creating a mostly flat and tone-

less image. - Student does not ex-

plores the range and limitations of their Non-traditional drawing tool as the lines and ges-

ture remain consistent throughout.

Content 25%

- Student expertly estab-lishes a mood/feeling in their drawings through critical and purposeful use of value and line

(i.e. type, weight, direc-tion, thickness)

- Student insightfully and masterfully employs at

least 2 different types of lines in their diptych

- is imaginative and cre-ates interesting marks that add to the overall

mood of the image

- Student skillfully estab-lishes a mood/feeling in their drawings through thoughtful use of value

and line (i.e. type, weight, direction, thick-

ness) - Student thoughtfully and

skillfully employs at least 2 different types of lines

in their diptych

- Student somewhat es-tablishes a mood/feeling in their drawings through basic use of value and line (i.e. type, weight, direction, thickness)

- Student employs 2 dif-ferent types of lines in their diptych fairy well, but a little more critical thought regarding how

this will contribute to the mood

- Student does not es-tablishes a mood/feel-ing in their drawings as use of value and line

(i.e. type, weight, direc-tion, thickness) are

unintentional - Student uses only 1

type of lines in their diptych and/or does so without thinking about how it will contribute to

the mood.

Critique Presentati

on 25%

Student excellently articulates the symbolic

meaning of all three images in their diptych.

Ideas and rationale demonstrate a deep critical thought and

reflection.

Artist statement clearly/adequately articulates the symbolic meaning of all

three images in their diptych. Ideas and

rationale demonstrate a some thought and

reflection.

Artist statement simply articulates the symbolic

meaning of all three images in their diptych.

Ideas and rationale demonstrate superficial thought and reflection.

Artist statement hardly or does not articulates the symbolic meaning of all

three images in their diptych. Ideas and

rationale demonstrate very little thought and

reflection.

Performance Task Art Critique

1. DESCRIPTION:(I will take inventory, I will look, identify, & describe…) • What types of lines and mark-making techniques did the artist use in

their drawings? (blind or modified blind contour and continuous line) • Are the lines continuous or do they stop and start? • What direction do the lines go: horizontal, diagonal, vertical? • Are the lines sketchy or neat and orderly?

• Do the lines vary your line width/weight and density? How does this contribute to the composition?

• Where are the highlights, mid-tones, and shadows? • Do the objects cast shadows? Are they darker at the base of the

object gradually get lighter? • Are there areas of reflected light? • Do the values tradition smoothy from lightest to darkest? Are there

some places where it’s a bit blocky?

2. FORMAL ANALYSIS & INTERPRETATION:(Discover relationships and figure out meaning) • Is there a lot of or very little contrast between the highlights and

shadows? How do these differences in value influence the mood of the image?

• How do the following add to the overall mood of the image? How does it make you feel? • Line type? • Width and weight? • Line direction?

• Based on the mood/feeling and the subject depicted in the image, what kind of message do you think the artist is trying to communicate through their art?

• What kind of non-traditional tool did the artist use in their drawing

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• How does this change the mark-making process and the appearance of the image overall?

• What does this add to the image overall?

3. EVALUATION: (Forming Judgment: What works well, and what could be done to add to the work) • Do the interior lines add detail and volume? If so, where and how? If

not, what can the artist do to fix this. • Do the lines move in and out of the subject? Or do we have a ginger-

bread man? • Do the interior lines follow the curves of the form, or are they

straight? What does this do to the image? • Is it clear that the artist took their time carefully observing the sub-

ject? How do you know? • Did the artist vary their line weight and width to add interest, depth,

and shadow to the image? How does this effect the composition? • Do the contour lines surrounding the object make a dark outline?

• Does this make the image look more or less realistic? • Are the angles and the forms true to life? What does this do to the

image? • Are the values on the surface plane one solid tone or is there some

gradation? What does this do to the image? • Did the artist explore the potential of the non-traditional tool to the

fullest extent, or is their handling still fairly conservative? • What strategies can they use to help loosen up?

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