Unit Vocabulary
shading/rendering
sketching
blind contour
guided observation
light source
balance
overlap
value
viewfinder
proportion |
|
Lesson 1: Becoming a Medical
Illustrator
Duration: 1 class period
Standards-Based
Assessments
Standard
1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: The
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project.
Activities
-
"An artist in
training ideally should first learn to see and draw edges using
line, then progress to drawing spaces and shapes in
proportion..."
~Betty Edwards
-
Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card).
The card will keep you from looking down on your paper. You may look down only to reposition your pencil when you begin
a new line.
- Watch the
Demo of Images made by Medical Illustrators. Discuss why
drawings and 3D images of body systems are important. What might
the images help doctors and patients learn? How would doctors
and patients communicate if the images were not available? Look
at more medical illustrations and notice how the illustrators
make bones, organs, and body parts look 3 dimensional by using
shading. In this unit, you will learn how to use shading to make
your drawings look more realistic.
Differentiation
Support:
Extension:
Lesson 2:
Blind Contour and Guided Looking Techniques: Sketching
Duration: 1 class period
Standard 2:
Knows and applies elements of art and principles of design.
(Identifies primary colors.)
Standard 3:
Knows
and applies the use of tools, materials, techniques, and processes.
(Demonstrates appropriate use of tools and materials. Demonstrates
instructed techniques and processes.)
Essential Questions:
How do you use art to communicate?
How do you use various tools, materials, techniques
and processes in the specific mediums? How do
you critique a piece of art?
Enduring Understanding:
Blind Line Contour Drawing helps to
overcome stereotype ways of seeing and drawing, makes the right
brain more assertive and aware of the observable look of what we are
drawing. We now use the the term r-mode thinking because brain
science has broadened the learning to include more than the right
hemisphere of the brain.
BLCD balances the left brain's (l-mode thinking) tendency to
standardize, generalize, and simplify everything.
It demystifies drawing and learning
to draw. Virtually anybody can improve their drawing ability with
this method. Child who learn to do blind contour drawing before
they are eight can be saved from the frustration of not knowing how
to learn to draw better.
Assessment: The
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project.
Here is an Art
Rubric
as
well.
Materials Needed: sketchbook,
pencil, blinder card and found objects such as small toys or
anything interesting or unusual, pencil
(optional: Ebony jet black smooth drawing pencil or vine
charcoal) eraser, and white drawing paper or sketchbook paper
Activities
-
You do not need to complete a
drawing ritual since you will be drawing all period.
-
Look at some examples of Art by
Leonardo
daVinci.
He created beautiful sketches of the human body. He was an
artist and a scientist. He studied the form and shape of the
human body to better understand how it worked. He was an artist
and a medical illustrator. He developed his observation skills
and eye-hand coordination by writing backwards, by drawing with
his left hand and by drawing images upside down from how he saw
them. He would turn his paper around at the end to check the
accuracy of his drawings. Try it sometime. It isn't easy!
-
Sketching Contour lines using Blind and Guided
Drawing Techniques:
You have already been drawing this way all year in your drawing
rituals! Being able to draw and shade is a learned skill. With the right
training and understanding of value in objects and light source,
it can be done by anyone and applied to all kinds of projects!
The art of shading can be learned through practice and
repetition. Follow the exercises below to train your eye to
“see” what is really there, to draw it as you really see it, and
to create the illusion of three-dimensionality as you add value
to the objects!
-
You have been drawing contour lines of objects with your blinder
card this year. Are you improving? You should be able to see and
draw the contour lines of things a little more easily than when
you first began.
-
Learn to sketch: Create a “blind contour” drawing of your
favorite three-dimensional toy or object:
Choose an object to draw.
Place a 9 ½ by 11 piece of white paper
or sketchbook in front of you.
(You may use a blinder card over your pencil to keep from
looking at your paper.) Looking
only at the object itself, begin drawing the
outer line, or the contour line of the object. Do not look down
at your paper, even if you have to start again. Draw very
slowly and try to record every single detail and change
in the objects contour line. Your finished product is not meant
to look good! The purpose of this activity is to force you to
see what is really there. By drawing slowly and not looking at
your paper, you are sure to record every single part of the
image’s contour. Only look at your paper when you are beginning
a new line.
-
When sketching, pull back on your pencil, holding it in the
middle instead of close to the point. This will take the
pressure off of your drawing and your lines will be drawn
lighter. Practice with a variety of objects.
-
Date your sketches.
Differentiation
Support:
Wikipedia on Drawing Techniques and Leonardo daVinci
Extension:
Lesson 3: Blind Line Contour Watercolors
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: A grading
rubric is found at the end of the lesson in step #4 below.
Materials:
pencil,
sketchbook, found object for the drawing ritual, blinder card,
Drawing
paper (approx
9" x 24" - or desired size),
Pencils,
Quality paper 19x25” cut vertically in half,
White oil pastels
(or white crayons),
Watercolor Paints - brushes - water bottle, flowers or
potted plants
Vocabulary:
Organic
shape,
contour line - blind contour,
wet in wet,
resist,
warm / cool colors -You may look at the
Artlex website.
Activities
-
Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card).
The card will keep you from looking down on your paper.
You may look down only to reposition your pencil when you begin
a new line.
-
Let's pull out our color triangle
wheels that we painted in the first unit. (You can even
use a large circular color wheel to look at.) Who can name our
three primary colors? Secondary? Complimentary colors?
What is a TINT? Do you see any tints on our color wheels?
NO! Tints are made with white added to a color. Our color wheel
colors represent the colors in the rainbow or color spectrum and
they don't include tints-or SHADES! (Remember- shades are colors
that have BLACK added to them.) Wow! Are you overwhelmed with
all these types of colors? Well, don't be since we will be
continually reviewing with interesting lessons for you.
-
What colors on the color wheel
remind you of sunshine or a hot fire? Red, orange, and yellow.
We will call these WARM colors. These aren't too hard to
remember. What colors remind you of a cool ocean or sky? Blue
and green- COOL colors. We will add violet to the cool color
list at this point.
-
Follow this
Warm and Cool Blind Line Watercolors
Lesson
Differentiation
Support: To review colors explore this fun Color
Interactive Tool.
Extension: To review colors explore this fun Color
Interactive Tool.
Lessons 4-5: Modern Day Mona
(Upside-Down Drawing)
Duration: 2 class periods
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment:
Art
Rubric
Materials: pencil, sketchbook, blinder card and found object for
the drawing ritual, value scale worksheet-one per student
(optional), contour drawing of Mona Lisa (one per student) OR
a black and white photo copy of Mona Lisa with the contour lines
overdrawn with a black marker (one per student), drawing pencil,
paper to cover most of the photo copy, colored pencils optional
Activities
-
Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card).
The card will keep you from looking down on your paper.
You may look down only to reposition your pencil when you begin
a new line.
-
We will begin this lesson
with a VALUE SCALE
in your sketchbook. Value is the lightness or darkness of
a color, and adding
values turn flat contour line drawings into drawings that have
DEPTH.
The purpose of this chart is to show you how many values you can
create with your pencil.
Here is a photo of a Value Scale that a young student
created. This is a 5 step value scale, although many value scales can be
9 steps or more.
Some
students have even turned their value scales into caterpillars
just for fun.
-
Look at this webpage to complete a
Five Step Value Scale. Use a quarter to trace the five
circles in a row in your sketchbook. Overlap the five
circles just a bit for the values in between.
OR print out this simple 5 step value scale worksheet to tape
into your sketchbook:
5 STEP
VALUE SCALE WORKSHEET To print set printer to landscape
setting.
CROSS-HATCHING is the criss-cross marks that create dark values.
HATCHING is a mark going in one direction that can be used for
the middle and light values.
-
Follow this Modern Mona Lisa (see
attachment). This lesson is geared for 5th and 6th grades
but is adaptable for 4th. Create an upside-down drawing of a modern day Mona
on your drawing paper. You will be surprised at the results!
-
Use your black and white value scale (called grey
scale) and a drawing pencil to
add values to your Mona. OR add color values
with colored pencils using the
same shading techniques as above.
Differentiation
Support: Turn the Mona print upside-down. Cover the
bottom portion of the upside-down drawing. Draw only the longest or
thickest lines and shapes. Continue to uncover the print one section
at a time and continue drawing the most important lines and shapes
that you see. Your drawing can be very simple! Don't worry too much,
just do the best you can. It does not need to look l an exact
duplicate of the original painting!
Extension: You may print this sheet to complete four different
10 step value
scales using various marks:
Value Scale Worksheet . Tape this into your sketchbook.
Draw or listen to the audio book on
Drawing Faces.
Lesson 6:
Sketching, Drawing, and Shading Techniques: Value
(Optional)
Duration: 1 class period
Standard 2:
Knows and applies elements of art and principles of design.
(Identifies primary colors.)
Standard 3:
Knows
and applies the use of tools, materials, techniques, and processes.
(Demonstrates appropriate use of tools and materials. Demonstrates
instructed techniques and processes.)
Enduring Understandings:
Art is a visual form of
communication. Art evokes meaning. Tools, materials, techniques and
process are needed to create art. Tools, materials, techniques and
processes must be used properly when creating art. You can critique
art when you know how to analyze, assess and evaluate art.
Essential Questions:
How do you use art to communicate?
How do you use various tools, materials, techniques
and processes in the specific mediums? How do
you critique a piece of art?
Assessment:
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project. Remember, the portfolio
will be submitted to Mrs. Reese, when completed, for her assessment
and comments.
Here is an
Art Rubric you may use as well.
Materials Needed:
sketchbook, pencil, blinder card and found objects for the drawing
ritual,
Pencil (optional: Ebony jet black smooth drawing pencil), eraser,
white drawing paper or sketchbook page, ruler
Activities
-
Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card).
The card will keep you from looking down on your paper.
You may look down only to reposition your pencil when you begin
a new line.
-
Being able to draw and shade is a learned skill. With the right
training and understanding of value in objects and light source,
it can be done by anyone and applied to all kinds of projects!
The key is that shading can be learned through practice and
repetition. Follow the exercises below to train your hand to
shade objects to create the illusion of three-dimensionality.
-
Follow this shading activity to “train” your hand to shade. Look
at this
EXAMPLE.
On your 9 x 11 piece of white construction paper
or sketchbook page, draw a 6 inch
x 5 inch box USING YOUR RULER.
Next, place your ruler on the line, and make a small mark every
1 inch around the entire perimeter of the box.
Beginning in the upper right hand corner, connect
the marks in a diagonal, all the way across (see example).
Now, using your ruler, draw one or two shapes in the
center of your box. You may use a rectangle, square, triangle,
or invent your own new shape. You may also use a circle
template to create a circle in the middle.
-
Finally, following the example attached, begin at the upper
right-hand corner of your paper, shade with your pencil from
dark to light, pulling up pressure on your pencil until you
reach the white of your paper.
-
On the next line, begin at the opposite end and shade dark to
light going the opposite direction. This will create a pattern
all the way across your paper.
There is a tricky part to
this activity. As you go down your paper shading dark to light,
when you meet a line from one of your shapes, you start over
again at the line, from dark to light. When you meet another
line, shade dark to light again, going the same direction the
entire time.
Be sure to leave the white of your paper at the end of each line
to represent your reflective value (reflecting the light) in
shading and object. This activity will train your hand to be
able to shade actual objects in the next lesson.
-
Continue with lesson #6 to learn how to add values
to an egg to make it look three-dimensional.
Differentiation
Support: Have a square divided into 2" diagonals instead
of 1" ready for the student. The student will draw a simple shape in
the center. Guide the student with shading.
Extension:
Lesson 7:
Sketching, Drawing, and Shading Techniques: Egg
Drawing in Values
Duration: 1 class period
Standard 2:
Knows and applies elements of art and principles of design.
(Identifies primary colors.)
Standard 3:
Knows
and applies the use of tools, materials, techniques, and processes.
(Demonstrates appropriate use of tools and materials. Demonstrates
instructed techniques and processes.)
Enduring Understandings: Students of
all ages need to understand that
three-dimensional
illusion is created by tonal value change-NOT by contour lines which
flatten space. Instead of showing outlines as in contour drawing,
this drawing would clearly indicate the edges and rounded form
because of the tone change - not darkened lines.
Essential Questions:
How do you use art to communicate?
How do you use various tools, materials, techniques
and processes in the specific mediums? How do
you critique a piece of art?
Materials Needed: sketchbook,
pencil,
this egg drawing will use a regular classroom pencil and then a
black ballpoint or ink pen. The pencil lines will be erased
later with a soft eraser (you may try an Ebony jet black smooth drawing pencil
for additional value drawings), soft eraser,
9"x12" white construction or drawing paper, an egg placed on white
paper with a light source to cast an interesting shadow
Assessment:
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project. Remember, the portfolio
will be submitted to Mrs. Reese, when completed, for her assessment
and comments. Here is an
Art Rubric you may use as well.
Vocabulary: value, reflective line, gradation, tone,
hatching, cross-hatching, negative
space, outline, contour line, edge, highlight- For further vocabulary information look at
the Artlex site.
Activities
-
No need for a drawing ritual today. You will be drawing all
class period.
-
Being able to draw and shade is a learned skill. With the right
training and understanding of value in objects and light source,
it can be done by anyone and applied to all kinds of projects!
The key is that shading can be learned through practice and
repetition. Follow the exercise below to train your hand to
shade objects like an egg to create the illusion of three-dimensionality.
-
Look at the EGG VALUE video (need to attach)
-
Do not start
shading yet. Study the egg. Ask these awareness questions allowing
time to look:
Where does the TONE seem
to get very bright on the lightest parts? Tone
is the
saturation
(purity and impurity) of a color. To tone down is to make a color less
vivid.
What happens to the
tone way down under by the table on the dark side?
What happens
to the table tone itself under the egg?
Where can you find GRADATIONS from lighter to darker on the egg and on the table?
Where is the REFLECTIVE LIGHT that lightens some of the
underside of
the egg? You may find it alongside the inside of the
contour line of the egg where the egg meets the tabletop. The
light from the light source bounces (or reflects) off the table
onto the bottom of the egg creating A REFLECTIVE LINE that is a
bit lighter than the shadow.
Wow! That's a lot of observations! But, creating a
successful drawing will depend on how you have observed your egg
values!
TIP: This lesson uses a 5 step value scale
from #1 (white) to #5 (black). #3 would be your middle
value.
- Place
an egg on a piece of white paper. Arrange a light source over
the egg so that it casts an interesting shadow. LET'S
DRAW! Lightly draw the contour line of the egg and add the
outline of the shadow(s) that fall on the table.
- If you SQUINT at the egg your black and white values POP. After
thoroughly studying the tones, use the pencil to do some
planning that will be erased after the shading is complete.
With the pencil make a light outline around the lightest
highlighted area on the light part of the egg. (This
area will be left totally white when shading, but it will NOT have an ink outline;
the pencil outline will be erased later).
- Still using the pencil,
SQUINT to find the darkest shadow area and lightly outline it on your
drawing.
- Now you have located number
#1 and number #5 values. You will add tones 2,
3, and 4 later.
- Look for REFLECTIVE
light that tends to lighten dark areas and ease off when toning
these areas so they come out a bit lighter. You may find a
REFLECTIVE LINE just inside the bottom outline of the egg that
touches the table. Look carefully! Do you see a
lighter tone there? Lightly outline this with you pencil.
You will use a light value when you shade in this area.
-
Now change to the black ball point, do not
draw any ink OUTLINES or EDGES.
- Begin with darkening the
darkest areas (not inking the outlines) as dark
as you can. You
are "hatching" the egg (sorry about that). HATCHING is shading using
strokes going in one direction. You may even try CROSS-HATCHING
which is using criss-cross marks, and make sure this area is
BLACK. Stay in your contour lines when you shade!!! You
must be neat!
- Look at the GRADATIONS on the
egg and make similar gradations on the egg drawing, but do not
put any tone on the lightest highlight area (#1 area) remember? Allow
pure paper tone as the highlight. When you gradually lesson the
tone from black this gives a rounded effect. But make sure
you are observing the egg and the changing tones as you shade.
- Feel free to
practice on other paper making gradations. Also give tone to the table
with very dark tone under the dark side of the egg, but easing
off if there is any reflected light from the egg shining onto
the table.
- Over the top of the egg
(behind it), decide if the background is darker or lighter than
the egg in that area, and shade it as needed. Try to show some
difference in tone between the object and the background.
- There are different ways to
terminate the edges of a drawing. The NEGATIVE area can
simply fade away. The edges can terminate abruptly at a frame
line or border, or you can play around with different ideas.
- ERASE the pencil lines so
that only the tone from the black ink shows. There should be no outlines in the
final drawing. Instead of showing outlines as in contour
drawing, this drawing would clearly indicate the edges because
of tone change - not darkened lines.
- Extra paper can be removed to
make the drawing appear to fit the paper. A small window mat can
be placed over the drawing to make it smaller. Sign and date the
work and save it in a portfolio of practice work or display it
remind you to practice again.
- You did it! The more you
practice, the better your drawing skills!
Differentiation
Support: The student may use a drawing pencil. Draw the
oval shape like the egg. Squint to see the darkest value in the egg.
Shade that as dark as possible without crossing over the outline.
Squint to find the white value and outline lightly. Shade everything
else a middle grey value in the egg. If the student can, outline and
shade the shadow that is cast on the table.
Extension:
For fun, try fruits and veggies. Taste them and include the
blemishes caused by eating parts of them. Include overlapping to
make it more interesting, challenging, and to give more depth in the
drawing. Remember to set it up in the kind of lighting that produces
nice shadows for shading. Another time, try some interesting toys,
stuffed animals, dolls, or sporting equipment. For variety and fun,
start with a light pencil outline sketch as above and then shade by
stippling (lots of little adjacent dots of color) the drawing with
the points of small colored markers, intermixing colors. When the
stippling is dry we erase all the pencil to show only pointillist
form and color without line. Change your drawing materials and try
a jet black Ebony drawing pencil, charcoal pencil, red or
black conte crayon, or vine charcoal.
Lessons 8-10: Self-Portraits in Values
Duration: 3 class periods
Enduring Understanding:
Essential Questions:
Assessment:
Art Rubric
Materials: gray scale pastels (chalk pastels that have white,
light, medium, dark gray, and black values), 18"x24" gray
paper-recommended (white paper can be used} or 12"x18"
gray or white paper
Advance Preparation: Take a high contrast black and white photo
of each student. Have the student stand in a dark area with a light
source close to one area of the face. Develop these photos to 3"x4"
size. You can keep the students busy with a few drawing rituals
using different drawing utensils while you call one student at a
time for the photos.
Activities:
- There is no need for a
drawing ritual today. You will be drawing all period.
- Ready to draw a large
self-portrait? Take your photo and a ruler and mark the edges
every inch. Connect the marks across and down to make a one inch
grid over your photo. An ink pen may work better than a pencil.
- Take your large 18"x24" paper
and mark every 6" along the edges with a pencil. Connect the
marks across and down with a yard stick (if possible) very
lightly with your pencil.
- Turn your photo upside-down
and begin with one square of your photo. You may place a card
with a one inch square cut from the center (a one inch
viewfinder) and place this on the square you are focused on.
Draw the most important lines (or shapes) as accurately as
possible enlarging the image. You may dot a center point in your
large square and smaller square of the photo. Are there any
lines or shapes that intersect this center point? How close does
the line come to the corners or edges of the square? Enlarge the
lines and shapes as best as you can.
TIP: For detailed areas like eyes add extra grid lines in your
photo and larger paper from corner to corner with your pencil.
This will help you draw your lines and shapes more accurately.
- Move onto the next square
when you have completed the first...and so on.
- You may turn your photo and
drawing paper right-side up when you have completed the lines
and shapes in all your squares.
- Add any details that you
need.
- Have newspaper under your
large paper. Use scrap paper to lean on or the pastels will
smudge. Have another piece of scrap paper to collect the dust
from the drawing paper. When dust collects, lift the drawing and
tap the back of the paper so the dust falls on the scrap. Do not
blow or sweep the dust from the paper.
- Use a charcoal pencil to
outline all your black values. Use black pastels to fill in
black areas first. Then fill in your middle values, then white.
Try to follow the values from the photo as best you can.
- Use the charcoal pencil for
dark details.
- When you are satisfied spray
the drawing with a clear protective coat. Staple your drawing on
a larger sheet of black paper as a frame. Staple the photo on
the bottom right of the large drawing. There you have it- A
beautiful self-portrait in values! Great job.
- Display all the
self-portraits outside the art room. Everyone will be pleased to
see the large high contrast images!
Visit the student
ART GALLERY
to look at some AMAZING Self-Portraits using the grid and
values. These self-portraits were completed on 18"X24" gray
paper.
Differentiation
Support:
Extension:
Lesson 11: Drawing the Human Body-
Gesture Drawing
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understandings:
"Gesture drawing helps nurture our expressive, intuitive, emotional,
and artistic temperament. Gesture drawing is a great change of pace
from the careful work of contour drawing and can improve the quality
of subsequent contour drawings. Observation is still very
central to the activity, but feeling and kinesthetic response to
tools, materials, and motion are also rehearsed and artistically and
expressively developed. Gesture drawing is the dance of drawing."
~Marvin Bartel, Ed.D
Assessment: The
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project.
Here
is an
Art Rubric you may use as well.
Materials Needed: sketchbook,
pencil, blinder card and found objects for the drawing ritual,
newsprint or other cheaper paper, crayons,
markers, graphite sticks, pastels, oil
crayons, and charcoal work well.
Vocabulary: gesture
Activities
-
Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card).
The card will keep you from looking down on your paper.
You may look down only to reposition your pencil when you begin
a new line.
- "Artists know that the ability to draw a camera-like likeness is a useful skill, but by itself, it is not art. Gesture drawing helps nurture our expressive, intuitive, emotional, and artistic temperament. Gesture drawing is a great change of pace from the careful work of contour drawing. It must be explained that this is not intended to give the same results as contour drawing, but it can improve the quality of subsequent contour drawings. Observation is still very central to the activity, but feeling and kinesthetic response to tools, materials, and motion are also rehearsed and artistically and expressively developed. Gesture drawing is the dance of drawing."
~Marvin Bartel, Ed.D
- Scroll down to the
Gesture Drawing Dance . Unlike contour drawing, gesture drawing does not start with an outline. It starts from the center (the core) and moves out to all the joints, the extremities, emphasizing movement and action as it rapidly colors in the figure. Gesture drawing is the opposite of slow and careful contour drawing. Gesture drawing is from observation, but it is done very fast--not slow and deliberate as contour drawing needs to be.
Differentiation
Support:
Extension: Here is a shorter version of the gesture
drawing called
Inside-Out Gesture Drawing.
Lesson 12: Drawing the Human
Body-Cross Contour Drawing (or Invisible Figure Drawing)
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understanding: The
practice of cross-contour drawing is a necessary exercise that
equips the student to learn how to see and understand how to render
spherical three-dimensional forms.
When a student can visualize the
imaginary cross-contour lines in an object, he/she can shade the
values in the same direction as the cross-contour lines to create
rounded forms. This
method makes observational figure drawing less frightening and
easier. This method also makes it impossible for the left brain to
impose a standard saved "person image". Nobody reverts to a "stick
person". The left brain bows out and the right brain gets a chance
to get some practice and confidence.
Assessment: The
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project. Here is an
Art Rubric you may use as well.
Materials Needed: sketchbook,
pencil, blinder card and found objects for the drawing ritual,
newsprint or other cheaper paper, crayons,
markers, soft dark pencils (6B), graphite sticks, pastels, oil
crayons, and charcoal work well.
Vocabulary: gesture, cross contour lines
Activities
-
Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card).
The card will keep you from looking down on your paper.
You may look down only to reposition your pencil when you begin
a new line.
- "To draw well, students need
to learn to see the cross-contours of things. Cross-contour is
easier to see if there are lines that go across the form and
help show the form, like horizontal stripes on a blouse. The
top of a water glass is easy to see as an oval, but the bottom
is hard to see other than a straight line for some observers.
Before drawing, I ask them to study the relationship between the
observed top and bottom, but I do not illustrate it with a
drawing for them. I ask them to practice with a finger in the
air, etc. before putting lines down on paper."
~Marvin Bartel, Ed.D
- Look
at the
Invisible Figure Drawing section- (also called
cross-contour drawing) scroll down towards the bottom of the
page. Wrap a model
in bright orange ribbon or tape to create an easy way to see cross contour.
In this session students are instructed to draw only the
ribbon. Black compressed charcoal is quick and expressive. This
method makes observational figure drawing less frightening and
easier. This method makes it impossible for the left brain to
impose a standard saved "person image". Nobody reverts to a
"stick person". The left brain bows out and the right brain gets
a chance to get some practice and confidence.
Differentiation
Support:
Extension: Please try another cross-contour drawing:
Draw multiple parallel lines with a width of about 1/4"-1/2" AROUND
a spherical object like an apple or tennis ball with a thick black
marker. On your paper, draw the BLACK LINES only and
disregard the object. Do the lines give an illusion of a
sphere? Try a few more for practice!
Lessons 13-14: Michelangelo's Sistine Chapel
Ceiling -Shades (Part 1)
Duration: 2 class periods
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: The
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project.
Materials: 9"x12" painting paper, tape, Crayons, Markers, tempera
or acrylic paint, long handled stiff acrylic brushes, desks, colored pencils etc.,
prints of some Sistine Chapel fresco panels-one per student,
graphite paper for tracing
Advance Preparation:
Ceiling Fresco. Find and click to enlarge some
appropriate panels for the students to view. Print some of the
appropriate panels of one main figure in color for the students to
trace onto their painting paper. One print per student.
Vocabulary: shades, tints, chiaroscuro
Activities
- Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook. Use a blinder card (place the pencil through a hole
in the center of a 8 x 8 inch card).
The card will keep you from looking down on your paper.
You may look down only to reposition your pencil when you begin
a new line.
- Read or listen to the audio
books,
Michelangelo's Ceiling and
Stories on the Ceiling.
Michelangelo was one of the
world's most famous artists for drawing and painting. His most
famous painting is the ceiling of the Sistine Chapel. The
Creation is one scene on the ceiling. It shows the hand of
God reaching out to touch the hand of Adam. Look at the
drawing of the
hands and notice how Michelangelo used value and shading to
make them look realistic. You will see this drawing throughout
your lifetime. It is so famous that it has become a popular
cultural icon.
- What is it like to lay on
your back for four years painting a ceiling? Follow the
directions in the
Michelangelo's Sistine Chapel Lesson and find out.
TIP: You will need to paint with THICK paint so it
doesn't drip. Try adding a little joint
compound to thicken it if you need to.
TIP: When the students get very tired of painting under the desk
they may remove the painting from under the desk and lay it on
top of the table to finish.
- Look at the Sistine
Chapel and it's Interior and the entire
Ceiling Fresco.
For the Teacher: Find and click to enlarge some appropriate
panels for the students to view. Print some of the appropriate
panels in color for the students to trace onto their painting
paper.
- Michelangelo used CHIAROSCURO
to make his forms look 3D. CHIAROSCURO is a fancy Italian word
for the technique in painting that uses shades, shadows and
highlights to create the illusion of three dimensions on a two
dimensional surface. Developed in the
Renaissance chiaroscuro comes from the Italian words for
bright or clear and
dark or obscure. It is usually translated as 'light-dark.'
Look at your printed picture. Do you see chiaroscuro in your
picture? Where?
- Transfer the image onto your
painting paper using graphite paper behind the image. Trace over
the main character only. The clothing folds are important to
trace, but you don't need every little detail. You may trace
some simple things the character is holding or sitting on.
Keep the drawing SIMPLE!
- Outline your lines on your
canvas with a
black permanent marker.
- Tape your pictures under your
desk. Have everything you need near you including damp sponges
in case there are drips. You will begin by painting the clothes
on the figure. Only use pure hues (color) to start. You may use
primary or secondary colors. Try not to paint over your black
lines-you need these as a guide. You don't need to match the
clothing colors-just choose a similar color.
- After painting the clothing
and while the paint is wet, add a
SMALL AMOUNT of black paint to your clothing color on your
mixing tray to darken the original color. You don't need much
black. You have just mixed a SHADE. Where should you add
this darker value or shade in your paining? Refer to your
picture to guide you. You will add shades to your folds. Lay the
dark areas where they should go. Don't over-paint and don't
worry. Finish the cloth with darker values and DO NOT cover all
your original colors! Do not use tints (white added to
color) in the cloth at this point.
- Mix flesh colors-begin with white
and add a touch of brown, touch of orange, touch of red. There are so many options
and you can try a different combination if you'd like. A
little color goes a LONG WAY when mixed with white.
- With a small stiff acrylic brush paint in
your flesh colored shapes.
- After painting your flesh
shapes neatly add a TINY amount of black to this
flesh color in your mixing tray and paint in the darker flesh
areas to add three-dimension. Don't cover all your original
flesh colors. Don't overdo the shades and try to stay inside the
black lines. Refer to your print to place your shades in the
right place. Guess what? Don't worry!
- Wow! Is your arm tired? Now you know how
Michelangelo felt!
- Great job so far! You are
just learning so don't be hard on yourself! We will continue
these paintings next art class.
TIP: Remember that to achieve a better chiaroscuro light-dark 3D
effect, artists like Michelangelo used TINTS as well as shades
TIP: Renaissance artists often used color OPPOSITES or
COMPLIMENTS in the shadowed areas and NOT just black but we will
keep this as simple as possible.
Differentiation
Support:
Extension: Here is more info on
CHIAROSCURO.
TIP: Renaissance artists often used color OPPOSITES or COMPLIMENTS
in the shadowed areas and NOT just black. If you'd like, try a
complimentary color for the shadow plus a small amount of black to
darken.
,
Lesson 15: Michelangelo's Sistine Chapel
Ceiling -Shades (Part 2)
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: The
End of unit portfolio should demonstrate growth in techniques of
sketching and shading through a series of 4 drawing activities and a
final cumulative still life shading project.
Materials: 12"x18" painting paper, tape, Crayons, Markers, tempera
or acrylic paint, Brushes, desks, colored pencils etc.,
prints of some Sistine Chapel fresco panels-one per student,
graphite paper for tracing
Advance Preparation:
Ceiling Fresco. Find and click to enlarge some
appropriate panels for the students to view. Print some of the
appropriate panels of one main figure in color for the students to
trace onto their painting paper.
Vocabulary: shades, tints, chiaroscuro, complimentary colors
Activities
- Drawing Ritual in
sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute sketch in your
sketchbook. Use a blinder card (place the pencil through a hole
in the center of a 8 x 8 inch card).
The card will keep you from looking down on your paper.
You may look down only to reposition your pencil when you begin
a new line.
- You may work on top of your
desk to finish.
- Finish applying your cloth
and flesh colors and any props in your print. Refer to the last
lesson.
TIP: These painting are not meant to be perfect! Just do the
best you can and have FUN! Don't worry if you loose details.
- For the BACKGROUND: You will
mix a dark SHADE for the background. Choose
one or two colors you have not used and add black to this
for CONTRAST. Paint your background with this dark SHADE color.
- When you are finished,
carefully move the picture from the desk and
put it in a safe place to dry.
- Your teacher will mount this
onto colored paper when it is dry and hang this outside the art room.
Others will admire your Michelangelo CHIAROSCURO paintings! Great job!
TIP: Remember that to achieve a better chiaroscuro light-dark 3D
effect, artists like Michelangelo used TINTS as well as shades.
Differentiation
Support: Read or listen to the audio
books,
Michelangelo's Ceiling and
Stories on the Ceiling.
Extension: Here is more info on
CHIAROSCURO.
,
Lesson 10:
Duration: 1 class period
Enduring Understanding:
Essential Questions:
Activities
-
Differentiation
Support:
Extension:
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