Course Profile Visual Arts, Grade 11, Open, Catholic and Public

Unit 2: Body Language

Time: 22 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4

Unit Description

In this unit students will observe how the human figure has an expressive body language that can be illustrated in their art. The portrayal of the human figure in the media will be examined and an historical survey of the human figure in art will be studied. (It should be noted that sensitivity should be used in approaching this subject matter with students from certain cultures and religions. As well, not all students will be comfortable with expressions of human nudity where these appear.) Instruction will be given on the study of anatomy and proportion. A series of expressive drawings will be completed with the intent of capturing the subject’s body language to show expression or the interaction between figures. Initially, students strengthen their skills by sketching peer models and/or print examples in order to stimulate their own imagination in preparation for the culminating project.

These expressive drawings will be a starting point for a studio project in which students create a figure painting done in watercolour with resist. The students choose one of their figure drawings and draw a contour outline of the figure on watercolour paper. Resist is applied carefully over this outline and watercolour paint is used for the remaining background and interior areas. Colours and techniques that are chosen for this studio project will be symbolic of the expression/mood that the student observed in the original figure studies.

Unit Synopsis Chart

Activity	Time	Expectations	Assessment	Tasks
1. Go Figure: The Human Figure in Pop Culture	225 min	THV.01; AN1.01; AN2.02; CR2.02; CGE2a; CGE2c; CGE3c	C	Observing the human figure through contemporary images (pop culture) - teacher slide presentation- students find examples of human figure in print media to examine composition - review the stages of critical analysis - students write critiques
2. It’s Alive! The Human Figure Comes to Life	255 min	CR1.03; CRV.01; CRV.02; CGE2c; CGE4a	C; A	- review gesture and contour techniques (previously taught in Grade 9 and 10) - students practise in sketchbooks using models - body language to express mood - large contour of partner expressing mood - add colour to enhance expressive mood
3. Figuratively Speaking: Historical Views of the Human Figure	240 min	THV.02; TH2.03; CGE5d; CGE7f; CGE7g	K/U	- Historical survey of human body - students research and compare three works of art featuring the human figure
4. Express Yourself: The Emotional Figure	480 min	CR1.04; CR2.05; CR3.01; ANV.01; CRV.01; CGE3c; CGE5g; CGE7i	C; A	Expressive figure painting using watercolour with resist - review of watercolour technique and practice - look at watercolour painting styles with teacher - body proportions and perspectival formatting introduced - series of detailed human figure drawings in sketchbook - select expressive figure composition from sketchbook and create a contour drawing from this - complete a watercolour-resist painting using rubber cement

Activity 1: Go Figure: The Human Figure in Pop Culture

Time: 225 minutes

Description

This activity involves students using images from contemporary sources such as painting, sculpture, photograph, print, and telecommunications media with a focus of considering how the human figure is depicted in the world today. By viewing popular cultural images students will note how body language speaks expressively, communicating a visual message to the viewer. Students will have the opportunity to critically analyse a current image of their choice.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE2a - listens actively and critically to understand and learn in light of gospel values;

CGE2c - presents information and ideas clearly and honestly with sensitivity to others;

CGE3c - thinks reflectively and creatively to evaluate situations and solve problems.

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - use appropriate terminology to discuss the art materials, techniques, and styles associated with art forms studied in the course.

Specific Expectations

CR2.02 - demonstrate an in-depth understanding of one or more of the following: painting, printmaking, sculpture, photography, artwork produced using new technologies;

AN1.01 - evaluate works of art orally and in writing, following standard procedures in critical analysis (e.g. consider their initial reaction; describe the works using appropriate terminology; analyse and interpret the works; evaluate the effectiveness of the work);

AN2.02 - explain how moods, feelings and ideas are used in both the creation and the evaluation of artworks.

Prior Knowledge & Skills

· Students need to have a working knowledge of the elements and principles of design, especially shape, form, and space.

· A basic knowledge of critical writing is needed.

Planning Notes

· Collect a variety of slides, prints, magazines, and newspapers that provide various examples of how the human figure is depicted in contemporary society.

· Ensure access to a slide projector.

· Book a library for research and/or provide art history resources and current media.

Teaching/Learning Strategies

1. A slide presentation is used to highlight examples of the human figure using contemporary images found in print media and fine arts.

Suggested images and artists are:

· Annie Leibowitz (celebrity photographer) - ANNIE LEIBOVITZ 1970 – 1990 Harper Collins 1991. – New York – ISBN 0-06-016608-8

· Diane Arbus (photographer) “Identical Twins, Cathleen and Colleen,” 1967.

· Yosef Karsh (photographer) “Pierre Trudeau”

· Alex Colville (painter) “A Couple on the Beach,” 1977.

· Ken Danby (painter) “At the Crease,” 1972.

· Michael Snow (painter) “Walking Woman,” 1965.

Assessment & Evaluation of Student Achievement

· Student achievement is assessed using a checklist (see Unit 2: Appendix A).

· Teacher and peer evaluation may be used to assess group work.

Accommodations

· Describe concrete examples during instruction. Students with some disabilities require very specific examples.

· Provide a critique example that meets the expectations of the assignment.

· Ensure student understanding by asking him/her to repeat the instructions. Also, check the student’s progression early in the writing process.

· As an alternative product, the student may do an oral presentation or provide a taped version of the critique.

· A student with vision difficulties may use a sculpture as the basis of the critique. This allows the student to physically touch the artwork.

· Provide extra time to complete the activity.

· Provide a critique worksheet with clear instructions that allows the student to write directly on the page.

· In order to successfully meet each identified student’s individual needs, it is imperative that the teacher has a clear understanding of the student’s strengths and needs by referring to the Individual Education Plan.

Resources

Hume, Helen D. Art Teacher’s Book of Lists. Toronto: Prentice Hall Canada Inc., 1998.
ISBN 0-13-517756-1

Karsh, Yousuf. Faces of our Time. Toronto: Toronto University Press, 1971. ISBN 0-8020-1771-1

Edward J. Steichen. (video) Newport, RI: Media for the Arts, 1999. 55 min.

Frida Kahlo. (video) Newport, RI: Media for the Arts, 1999. 55 min.

Colville’s Couple on the Beach.

Arbus, D. Slide Set 8791. New York: The American Library Colour Slide Co., Inc., 2000.

Janson, H.W. and Anthony F. Janson. History of Art. New York: Harry N. Abrams, Inc., 1997.
ISBN 0-8109-3442-6

Salome, Richard and Jack Hobbs. The Visual Experience (Teacher Edition). Worcester, Massachusetts: Davis Publications, Inc., 1995. ISBN 87192-291-6

Mittler, Gene. Art in Focus (for art criticism steps)

Appendices

See Unit 2, Appendix A – Critique Checklist

See Unit 1, Appendix B – Art Viewing Strategy Worksheet

Activity 2: It’s Alive: The Human Figure Comes to Life

Time: 375 minutes

Description

By the use of gesture and contour drawing techniques, students record expressive body language demonstrated by student models in single and group format using their sketchbook/journal. A group collage of the gesture and contour studies provides the opportunity for problem solving where selected practised images are used. Student models then depict various moods, emotions, and expressions. As a follow up, student pairs sketch their partners’ portrayed expression. An added dimension using symbolic colours requires a review of colour theory. Colour is then added to enhance the mood expressed in the final drawing and is completed in a variety of stick media.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE2c - presents information and ideas clearly and honestly with sensitivity to others;

CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others.

Strand(s): Creation

Overall Expectations

CRV.01 - produce artworks using a variety of materials, tools, processes, and technologies safely and in ways that are appropriate to the content of their work;

CRV.02 - produce a body of creative work that represents a progressive record of their studio development in both technique and expression.

Specific Expectations

CR1.03 - use personal imagery that relates to the themes and issues explored in their work.

Prior Knowledge & Skills

· Students need to be comfortable applying their knowledge of elements and principles of design.

· It is expected that students have basic drawing skills, using stick media.

Planning Notes

· Ensure there is an abundant supply of the following: sketching pencils and a variety of coloured stick media such as conte, coloured pencils, and chalk.

· Provide a large supply of newsprint for sketching and Mayfair-style paper for the collage.

· Glue sticks or another appropriate adhesive is necessary for the collage.

Teaching & Learning Strategies

1. The teacher emphasizes the expressive qualities of the element of line. The teacher then demonstrates gesture and contour drawing techniques (see Unit 2, Appendix B – Action Drawing - The Fast Free-moving Line, and Unit 2, Appendix C – Contour Studies – Concentrated Seeing.)

2. Practise the techniques in the sketchbook/journal using student models with an emphasis on respect for self and others.

3. In groups, students create a mural-type collage using selected practice drawings.

4. Through body language have models express various moods such as joyfulness, fatigue, victory, depression, and fear.

5. Working in pairs students create a large (36" x 24") contour drawing demonstrating the expressive mood portrayed by his/her partner.

6. A teacher-led review of colour theory and its role in depicting mood is conducted.

7. Colour is added to the large contour drawing to enhance the expressive mood of the drawing using stick media (coloured pencils, chalk, conte)

Assessment & Evaluation of Student Achievement

· Check for understanding via self-evaluation or sketchbook/journal entries.

· Peer evaluation of group collage.

· Skills checklist for expressive drawing.

Accommodations

· When class participation is problematic during the modelling, print media can be used to provide source materials.

· To assist in the drawing process, use a screenboard for students with vision difficulties. (Refer to A Special Artist’s Handbook for construction instructions.)

· Using variously shaped drawing tools and chalk holders may be helpful for students with fine motor difficulties.

· Attach velcro to the drawing media and to the student’s arm to prevent the student from dropping the tool.

· Provide extra time to complete the activity.

Resources

Elements and Principles of Design (posters), Niagara Falls: Sax of Canada, 2000.

Gelb, J. How to Think Like Leonardo da Vinci, New York: Delcourte Press, 1998.
ISBN 0-385-32381-6

Hamm, Jack. Drawing the Head and Figure. The Berkley Publishing Group, 1983.
ISBN 0-399-50791-4

Martin, Judy (Frances Judy). Sketching School, Montreal: The Reader’s Digest Association
ISBN 0-89577-405-4

Mittler, Gene and Rosalind Ragans. Exploring Art (Teacher’s Wraparound Edition). New York:
Glencoe/McGraw Hill, 1999. ISBN 0-02-662357

O’Neill, M. Hailstones and Halibut Bones. Toronto: Doubleday Press, 1989. ISBN 0-385-41078-6

Perard, Victor and Rune Hagman. Drawing People. New York: The Berkley Publishing Group, 1987.
ISBN 0-399-51385-X

Rodriquez, Susan. The Special Artist’s Handbook: Art Activities and Adaptive Aids for Handicapped Students. Palo Alto: Dale Seymour Publications, 1997. ISBN 0866514767

Rose, Ted. Discovering Drawing (Teacher’s Edition). Worcester, Massachusetts: Davis Publications, Inc., 1995. ISBN 87192-282-7

Appendices

See Unit 2, Appendix B – Gesture Drawing

See Unit 2, Appendix C – Contour Drawing

Activity 3: Figuratively Speaking: Historical Views of the Human Figure

Time: 240 minutes

Description

This activity allows students to observe how the human body has been shown throughout history in various cultures. Students complete a slide-viewing worksheet that accompanies an art historical presentation. The information that is collected is shared cooperatively. Students are then assessed using a comparative figure chart (Appendix D) where they identify the style, content, and technique of each artwork and speculate about each artist’s intent.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE5d - finds meaning, dignity, fulfillment and vocation in work, which contributes to the common good;

CGE7f - respects and affirms the diversity and interdependence of the world’s peoples and cultures;

CGE7g - respects and understands the history, cultural heritage and pluralism of today’s contemporary society.

Strand(s): Theory

Overall Expectations

THV.02 - demonstrate an understanding of art of the Western world, including Canada only one example, and of other world cultures, that relates to the studio of the course.

Specific Expectations

TH2.03 - identify style, content, and technique in the artworks studied, and speculate on each artist’s intent.

Prior Knowledge & Skills

· Note taking skills are reinforced in this activity. Therefore, it is expected that students have experience with note taking from lectures.

· Students need to appreciate the importance of all cultures and their artistic achievements.

Planning Notes

· Collect a variety of slides and prints illustrating the development of the use of the human figure in art throughout history (be sure to include a wide selection of western and non-western art).

· Ensure access to a slide projector.

· Book the Library/Resource Centre for research and/or provide art history resources.

· It may be useful to introduce note-taking strategies to reinforce this important study skill.

Teaching/Learning Strategies

1. View a selection of human figures in painted, sculpted, and photographed formats that surveys world history from a variety of cultures. This presentation provides an opportunity for the class to explore various themes such as: respecting diversity in all cultures, the role of the artist in recording history, the restrictions of artistic expression, the recurrence of themes throughout the history of art (i.e., religion, love, death, war, body image, perceived beauty, human interaction).

Suggested images are:

· “The Venus of Willendorf “ (sculpture), c. 25 000 B.C.

· “King Tutankhamen Hunting” (painting), c. 1335 B.C.

· “The Discus Thrower” (sculpture), c. 450 B.C.

· “Lord Siva” (Indian sculpture), c. 900

· “Jamb Figures”, Chartres Cathedral (sculpture), c. 1145

· “The Great Buddha” (Japanese sculpture), 1252

· VanEyck “The Arnolfini Wedding” (painting), 1434

· Michelangelo “David” (sculpture), 1501

· Greco “View of Toledo” (painting), c. 1600-1610

· Akua'ba Doll (Ghana sculpture), 1800's

· Goya “The Third of May, 1808” (painting), 1814

· Ingres “Odalisque” (painting), 1814

· Kane “Blackfoot Chief and Braves” (painting), c.1851

· Rodin “The Thinker” (sculpture), 1879

· Peel, Paul “The Venetian Bather” (painting), 1889

· Gauguin “Spirit of the Dead Watching” (painting), 1892

· Munch “The Scream” (painting), 1893

· Cassatt “The Boating Party” (painting), 1893

· H. Rousseau “Sleeping Gypsy” (painting), 1897

· Picasso “Demoiselles D’Avignon” (painting), 1907

· Klimt “The Kiss” (painting), 1908

· Orozco “Zapatistas” (Mexican painting), 1931

· Kollwitz “Women Greeting Death” (painting), 1934

· Lange “Three Families, Fourteen Children” (photograph), 1938

· Colville, Alex “The Swimming Race” (painting), 1958

2. Using an art-viewing worksheet, students compile their information per slide during the presentation (see Unit 1, Appendix A: Art Viewing Worksheet).

3. Review and add additional information to the Art Viewing Worksheet.

4. (a) Distribute Human Figures in History Comparison Chart (see Unit 2, Appendix D) and discuss expectations of the assignment. Students research and compare three works of art featuring the human figure throughout history. Students focus on a theme that was discussed during the slide presentation (see Strategy 1.).

(b) Students select one of their researched works to depict in an alternative medium. Some suggestions are: a tactile version of “The Scream” using yarn, a monochromatic mosaic of “The Kiss” using magazines, a clay representation of “The Sleeping Gypsy”. These examples are intended to demonstrate approaches to creating an artwork using an alternative medium.

Assessment & Evaluation of Student Achievement

The teacher creates an assessment checklist for the Human Figures in History Chart.

Accommodations

· Describe concrete examples during instruction.

· Provide a slide viewing worksheet example that meets the expectations of the assignment.

· Ensure student understanding by asking him/her to repeat the instructions.

· As an alternative product, the student may do an oral presentation or provide a taped version of the assignment.

· Reduce the quantity of slides to be compared in the worksheet.

· A student with vision difficulties may use a sculpture as the basis of the comparison. This allows the student to physically touch the artwork.

· Allow sufficient time for the student to express his/her ideas.

· Thoroughly explain each step. This may require using one step at a time or ‘chunking’ of a few steps.

· Provide an art viewing worksheet with clear instructions that allows the student to write directly on the page (Unit 1, Appendix A).

Resources

Art of the Western World. (videos) Niagara Falls: Sax of Canada, 2000.

Beckett, Wendy. 1000 Masterpieces of Western Art. Willowdale: Firefly Books Ltd., 1999.

Hume, Helen D. Art Teacher’s Book of Lists. Toronto: Prentice Hall Canada Inc., 1998.
ISBN 0-13-517756-1

Janson, H.W. and Anthony F. Janson. History of Art. New York: Harry N. Abrams, Inc., 1997.
ISBN 0-8109-3442-6

Mittler, Gene and Rosalind Ragans. Understanding Art (Teacher’s Wraparound Edition). New York: Glencoe/McGraw Hill, 1999. ISBN 0-02-622361-7

Multicultural Print Sets, Niagara Falls: Sax of Canada, 2000.

Salome, Richard and Jack Hobbs. The Visual Experience (Teacher Edition). Worcester, Massachusetts: Davis Publications, Inc., 1995. ISBN 87192-291-6

Shorewood Art Prints, Niagara Falls: Sax of Canada, 2000.

Stokstad, Marilyn. Art History (Volume 1). Toronto: Prentice Hall Canada Inc., 1998.
ISBN 0-13-357500-4

Stokstad, Marilyn. Art History (Volume 2). Toronto: Prentice Hall Canada Inc., 1998.
ISBN 0-13-357527-6

Wright, Susan. The Bible in Art. New York: Todtri Productions Limited., 1996. ISBN 1-880908-68-9

Appendices

See Unit 1, Appendix A – Art Viewing Worksheet

See Unit 2, Appendix D – Human Figures in History Comparison Chart

Activity 4: Express Yourself: The Emotional Figure

Time: 480 minutes

Description

The culminating activity is to create an original, expressive figure painting using watercolour and resist with an emphasis on colour symbolism. To facilitate the transfer of previously acquired knowledge and skills students are given the opportunity to practise watercolour techniques using specific equipment and materials. These skills will be self-evaluated in order to be used within the context of the final studio activity. Students are introduced to a variety of historical watercolour artworks. In preparation for the final artwork, students are instructed in advanced human figure drawing techniques. Evidence of student achievement is measured using a rubric.

Strand(s) & Learning Expectations

Ontario Catholic School Graduate Expectations

CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;

CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.

Strand(s): Creation, Analysis

Overall Expectations

CRV.01 - produce artworks using a variety of materials, tools, processes, and technologies safely and in ways that are appropriate to the content of their work;

ANV.01 - evaluate their own artworks and those of others, demonstrating an understanding of the process of critical analysis and providing grounds for their aesthetic judgements.

Specific Expectations

CR1.04 - analyse works of art that use the media and processes they wish to explore in their own work;

CR2.05 - use materials, equipment, and processes safely when producing artworks;

CR3.01 - use precise and appropriate terminology for materials and processes.

Prior Knowledge & Skills

· Students need to have a basic knowledge of watercolour tools, media, and techniques.

· A working knowledge of basic drawing is required, especially gesture and contour.

· The element of colour should be understood concerning its symbolism when used in an artwork.

Planning Notes

· Provide an appropriate supply of watercolour paints, watercolour paper, brushes, and rubber cement.

· Collect examples of watercolour paintings, prints, and/or slides to illustrate a variety of watercolour techniques.

· Discuss safety considerations, if applicable.

Teaching/Learning Strategies

1. Review knowledge and watercolour techniques [(types of paper used, tools and equipment, working with watercolour (wet/dry surfaces, loaded/dry brush, transparency, flat, graded, and variegated washes, use of resist, use of watercolour pencils and crayons, special procedures using spattering, salting, and plastic wrap)].

2. Practise the above techniques in the student sketchbook/journal.

3. Choose one activity from Unit 2, Appendix E: Ideas for Watercolour Painting to be self-evaluated by the students using technical information noted previously.

4. View slide/reproduction examples of watercolour painting.

Suggested images:

· Winslow Homer “Bermuda Sloop”, 1910

· Dong Kingman “Cablecar Festival”, 1988

· Frank Webb “Dock Square”, 1984

· Linda Stevens “Water Light #33”

· Greg Curnoe “Corner”, 1976

· Morris Shubin “Diving Bell”, 1984

· Gustave Moreau “Dance of Salome” 1876

5. Body proportions and perspectival formatting are introduced (see Unit 2, Appendix F: How to Project the Figure into Space).

6. Complete a series of detailed human figure drawings in the sketchbook/journal.

Suggested images:

· hand

· foot

· various body positions

7. Select an expressive human figure composition for studio artwork in watercolour making certain to choose colour and techniques to enhance personal selection.

8. Complete human figure composition in watercolour using rubber cement resist.

Assessment & Evaluation of Student Achievement

· Check for understanding via self-evaluation or sketchbook/journal entries.

· Final assessment of student achievement will be attained through the completion of a rubric
(see Unit 2, Appendix G – Expressive Figure Painting with Watercolour and Resist Rubric).

Accommodations

· To assist in the drawing process, use a screenboard for students with vision difficulties. (Refer to A Special Artist’s Handbook for construction instructions)

· Using variously shaped stick media, large brushes, and chalk holders may be helpful for students with fine motor difficulties.

· Attach velcro to the drawing or painting tool and to the student’s arm to prevent the student from dropping the tool.

· Provide extra time to complete the activity.

· Use a squeeze bottle for paint.

· Reinforce appropriate material usage to ensure safety.

Resources

Elements and Principles of Design (posters), Niagara Falls: Sax of Canada, 2000.

Experimental Water Media (video) Niagara Falls: Sax of Canada, 2000.

Hamm, Jack. Drawing the Head and Figure. New York: The Berkley Publishing Group, 1983.
ISBN 0-399-50791-4

Martin, Judy (Frances Judy) Sketching School. Montreal: The Reader’s Digest Association,
ISBN 0-89577-405-4

Mittler, Gene and Rosalind Ragans. Exploring Art (Teacher’s Wraparound Edition). New York: Glencoe/McGraw Hill, 1999. ISBN 0-02-662357

Morin, David R. Perspective Made Easy. Portland: J. Weston Walch, 1995.

Northlight Illustrated Book of Painting Techniques, Niagara Falls: Sax of Canada, 2000.

Perard, Victor and Rune Hagman. Drawing People. New York: The Berkley Publishing Group, 1987. ISBN 0-399-51385-X

Rodriquez, Susan. The Special Artist’s Handbook: Art Activities and Adaptive Aids for Handicapped Students. Palo Alto: Dale Seymour Publications, 1997. ISBN 0866514767

Shorewood Collection Catalogue, Niagara Falls: Sax of Canada, 2000.

Watercolour Program (Videos) Niagara Falls: Sax of Canada, 2000.

Appendices

See Unit 2, Appendix E – Ideas for Watercolour Painting

See Unit 2, Appendix F – How to Project the Figure into Space

See Unit 2, Appendix G – Expressive Figure Painting with Watercolour and Resist Rubric

Unit 2, Appendix A

Formal Critique Checklist

Student Name: _________________________________________

Categories	1	2	3	4
Description · Have you included the date? · Have you described the type of media? · Have you included the artist and/or the source? · Have you discussed specific details found in the artwork?
Analysis · Have you thoroughly examined the elements and principles of design?
Interpretation · Have you thoroughly discussed the meaning of the artwork?
Judgement · Have you supported your opinion?
Organization and Language Usage · Have you done an appropriate amount of planning? · Have you ensured that your presentation is acceptable?

Additional Comments:

Unit 2, Appendix B

Gesture Drawing

Defining the Technique: What is this?

Gesture drawing is sometimes referred to as “thumbnail sketching”. It is often used as a method of “loosening up” the artist. This type of drawing is not concerned with specific details, but rather the feeling of the subject. It is considered by many artists to be the basis of other types of drawings. One may think of gesture drawing as a practical exercise in hand-eye coordination. The goal is to teach the eye to see and feel the subject, while not worrying about specific details. With practice and persistence, the artist will learn to trust his or her eye as it moves around the subject. Therefore, the movements of the eye and hand will become one.

Usually gesture drawings are completed in thirty-second segments. However they may be done in as little as a couple of seconds, or extended to a few minutes for a larger drawing. The process should flow freely and be drawn in a quick, spontaneous manner. Therefore, it is important to keep the media on the drawing surface at all times. It is helpful to stand while drawing as this allows for more arm movement, which creates a less rigid line. Try to draw with the motion of the arm and elbow, avoiding wrist and finger movements. Convince yourself it is okay to scribble!

How to gesture draw: Where do I start?

Gesture drawing reflects the path where the eye moves around an object. Before beginning it may be useful to visually examine the object, be sure to concentrate on how the eye moves in and around the subject. Eventually, this will not be necessary as the eye movements correspond with the hand movements of the drawn line. It is important to note that a successful gesture drawing does not concern itself with every line; many details may be omitted. The overall shape and feeling of the finished drawing is the main goal. Gesture drawing forces the artist to see the model and the movements as one image, not one detail at a time.

Extension Ideas: What can I do next?

Human models are most commonly used as subject matter for gesture drawings but there are endless possibilities, for example: dogs, cats or other pets. Models do not have to be limited to the studio. They are often right in front of us – for example: draw children while babysitting, athletes at a sporting event, people at the beach or park, peers at a school dance or yourself in a mirror.

Media can be anything from pencils, pens, chalk, conte, charcoal, crayons, or markers. Try using a red crayon on newspaper or draw in the sand with a branch. Be open to the vast supply of subjects and do not go anywhere without your sketchbook!

Unit 2, Appendix B (Continued)

Unit 2, Appendix C

Contour Drawing

Defining the Technique: What is this?

An effective way to deepen drawing ability is to observe carefully different forms and objects around us. By looking until we really see the make up of these items we note how line is used to create them as we learn to understand the outer edges and the inner structure of various forms. This observation can help us with a procedure called contour drawing.

Contour drawing is drawing the edge or the contour of a form. Contour lines establish a boundary separating one form from another. In contour drawing the artist is more interested with shape and structure than in gesture drawing. Contour drawing is a method that permits the artist to explore both the outer edges of an object and the interior structure. In contour drawing the tool moves along all the edges and ridges of a form. (i.e. wrinkles, folds, creases, etc.)

Contour drawing necessitates strong concentration to improve visual perception.

Contour drawing with emphasis uses this drawing technique for more finished results. Where blind contouring does not check what is drawn as work proceeds, controlled contour works may use a checking system as needed. Never forget to draw slowly and deliberately.

(a) Using a model, have the areas of pressure (body against surface) noted using heavier, darker lines.

(b) Have a model pose with arms or legs crossed. Sketch the pose and use only some edges and interior lines of the figure. This will record the particular qualities you want to capture.

(c) Using a model choose a pose that can easily be changed to a new, but not drastically altered, view. Have the first pose drawn in contour format and the second drawn on top of the first. This can be continued to show motion in the model’s poses.

(d) Notice wrinkles, folds, and creases in clothing, skin, etc. where contours also define ridges. Draw these detailed observations carefully as these lines add the look of roundness to your form.

(e) Use fine gauge wire, which can be bent into a contour sketch of an animal, face, etc.

How to contour draw: Where do I start?

Blind contour drawing is a good way to learn to discipline your eye to look and your hand to draw without checking the results. What is drawn is less important than your increased observation of the object to be recorded. Move your pencil as you scan the object’s edges.

What is most crucial is continuous focus until completion is achieved.

Unit 2, Appendix B (Continued)

Unit 2, Appendix D

Human Figures in History Comparison Chart

Human Figures in History Comparison Chart
Common Theme: __________________ __________________	Artwork 1 Title: Artist: Date:	Artwork 2 Title: Artist: Date:	Artwork 3 Title: Artist: Date:
Identify the content
Identify and describe the style used
Identify the technique
Speculate on the artist’s intent
Discuss your personal evaluation of the artwork

Unit 2, Appendix E

Ideas for Watercolour Painting

Watercolour paint is a versatile medium that can produce detailed or abstract results. Try some of the following watercolour suggestions in your sketchbook/journal:

1. Create transparent layers of colour: Using a damp brush, paint a layer of colour. Add another layer of paint after the first layer is completely dry. Ensure that enough water is added to the paint to keep it transparent. The result will produce new colours.

2. Masking techniques: Draw designs on the paper with rubber cement. Using a wet brush, paint over the rubber cement. Once the paper is thoroughly dry, peel the rubber cement off. The result will leave a design where the rubber cement was. Other masking possibilities include masking tape, white glue, liquid frisket, candle wax, or plant leaves.

3. Experiment with texture: An assortment of tools and specific painting techniques can be used to create a variety of effects. Some examples for creating textures are: use a toothbrush to splatter the paint, blow through a straw to ‘move’ the paint, squeeze paint mixed with a little water through a plastic bottle, blot wet paint with plastic wrap, paint on textured paper, or add small textured items, such as sand or salt, to a surface and paint on it.

4. Experiment with watercolour pencils: Watercolour pencils can be used to create a variety of effects. Start by drawing on paper with the watercolour pencils. Then, using a damp brush, blend the colours together. Experiment with the brush strokes and the amount water added to the brush.

5. Experiment with water: Lightly draw a design on the paper. Wet one area of the design, then add a small amount of paint to it. Allow the paint to flow into the entire wet area. Repeat this process on the remaining areas. Let each area dry before moving to the next.

Cover the paper with a wet brush. Generously add paint to the wet brush and let the colours drop onto the paper. Allow the colours to bleed into each other, assist this by tilting the paper, and blotting excess water off. Repeat the process by adding layers of different coloured paint.

6. Experiment with tissue paper: Tissue paper can be used to create ‘watercolour’ effects by painting it with a damp brush. New colours can be made by layering the tissue paper.

Unit 2, Appendix F: How to Project the Figure into Space

Unit 2, Appendix G

Expressive Figure Painting with Watercolour and Resist Rubric

Categories

Level 1

(50-59%)

Level 2

(60-69%)

Level 3

(70-79%)

Level 4

(80-100%)

Application of knowledge and skills

· advanced drawing

· watercolour techniques

· colour symbolism

· element of space (perspective and positive/negative)

- uses knowledge and skills with limited effectiveness

- uses knowledge and skills with moderate effectiveness

- uses knowledge and skills with considerable effectiveness

- uses knowledge and skills with a high degree of effectiveness

Application of the creative process

· evidence of planning

· exploring alternative approaches

· originality

- applies the creative process with limited effectiveness

- applies the creative process with some effectiveness

- applies the creative process with considerable effectiveness

- applies the creative process with a high degree of effectiveness and confidence

Expression of ideas

· clarity of ideas expressed

- expresses ideas with limited clarity

- expresses ideas with moderate clarity

- expresses ideas with considerable clarity

- expresses ideas with a high degree of clarity

Presentation of finished product

· appearance

· care taken in presentation

- limited evidence of careful presentation

- moderate evidence of careful presentation

- considerable evidence of careful presentation

- a high degree of careful presentation

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.

Teacher Comments:

Course Overview | Unit 1 | Course Profiles main menu