COURSE TITLE:
OBSERVATIONAL DRAWING SKILLS FOR THE TEACHER/ARTIST
NO OF CREDITS:
6 QUARTER CREDITS
[semester equivalent = 4.00 credits]
WA CLOCK HRS:
OREGON PDUs:
INSTRUCTOR:
Debora Supplitt M.A.Ed./M.Ed.
supplitt@comcast.net
360/254-1200
60
60
LEARNING ENVIRONMENT:
This course requires assignment responses to be posted in a password secured ONLINE website hosted
by The Heritage Institute, and computer video access via the Da Vinci Initiative: Video Course; for an
additional $100 enrollment fee at: http://www.davinciinitiative.org/store/c3/Online_Courses.html
COURSE DESCRIPTION:
This course incorporates Observational Drawing Skills (ODS) based on drawing and design
principles that guide participants through the process of creating successful, realistic looking, still life
drawings.
Teacher-artists who want to develop, support or advance their ODS will purchase the
“Introduction To Advanced Observational Drawing” video course to access thirty (30) online teaching
videos constituting approximately 5 hours of step-by step ODS content.
The lessons are open to all ability levels, from emerging to advance drawing skills. Lessons are
broken down into a series of small concepts that build upon each other so that participants can practice
each concept before incorporating it into their overarching still life project.
From hands on practice projects, exemplars and skill building, lesson plans will be developed for
implementation for any studio and/or classroom setting.
Participants will increase their visual literacy by learning to enhance and develop ODS techniques
for finding accurate line angles, evaluating nuanced values, observing proportions, identifying plane and
light breaks, and evaluating the design strength of a still life setup.
This course is for those who want to transform any visual impressions from observation, establish
an ongoing foundational skill set to transform images directly to drawing paper to achieve a realistic
drawing. Bonus footage content is available at the end of many lessons for teachers/artist who wish to
implement this material into any K-12 classrooms.
LEARNING OUTCOMES:
Upon completion of this course, participants will have:
1. A theoretical pedagogical foundation that supports the development of observational drawing
skills (ODS).
2. Enhanced knowledge and understanding of the use and applications of ODS.
3. Developed curriculum guides, lessons and a referral resource list that supports ODS.
4. Developed Exemplars for use with classroom curriculum and/or studio portfolio.
COURSE REQUIREMENTS:
Participants will complete online video content, assignments and post responses online to specific
questions outlined for each assignment. Completion of all specified assignments is required for issuance
of hours or credit. The Heritage Institute does not award partial credit.
HOURS EARNED:
Completing the basic assignments (Section A. Information Acquisition) for this course automatically earns
participants their choice of 60 State Clock Hours or 60 PDUs. The Heritage Institute is an approved
provider of State Clock Hours and PDUs.
Observational Drawing Skills
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Approved 4/2/2015
UNIVERSITY QUARTER CREDIT INFORMATION
REQUIREMENTS FOR UNIVERSITY QUARTER CREDIT
Continuing Education Quarter credits are awarded by Antioch University Seattle (AUS). AUS requires
75% or better for credit at the 400 level (Upper Division) and 85% or better to issue credit at the 500 level
(Post-Baccalaureate). These criteria refer both to the amount and quality of work submitted.
1. Completion of Information Acquisition assignments
30%
2. Completion of Learning Application assignments
40%
3. Completion of Integration Paper assignment
30%
CREDIT/NO CREDIT (No Letter Grades or Numeric Equivalents on Transcripts)
Antioch University Seattle (AUS) Continuing Education (CE) Quarter credit is offered on a Credit/No
Credit basis; neither letter grades nor numeric equivalents are on a transcript. 400 level credit is equal to
a “C” or better, 500 level credit is equal to a “B” or better. This information is on the back of the transcript.
AUS CE quarter credits may or may not be accepted into degree programs. Prior to registering determine
with your district personnel, department head or state education office the acceptability of these credits for
your purpose.
ADDITIONAL COURSE INFORMATION
COURSE MATERIAL and/or TECHNICAL REQUIREMENTS
You will need high-speed (DSL) Internet access in order to easily view online resources. Some
reading materials may be provided online as PDF documents, a format readable by computers with
Adobe Acrobat Reader. You may download a free copy of Acrobat Reader from our website, if needed.
You will need a DVD player and access to the films listed. A 3-month Netflix subscription is
optional and about $30. Your districts’ ESD, local video stores and libraries will have these films.
REQUIRED TEXT:
Speed, H. (1972) The Practice & Science of Drawing: Third Edition. Dover Publications, Inc. New York.
Amazon $10.95: used $5.90. Kindle download $.99
http://www.amazon.com/dp/0486228703/ref=rdr_ext_tmb
VIDEO ONLINE COURSE MATERIAL:
Introduction to Observational Drawing Video Access- Cost: $100. The Da Vinci Initiative; video course
instructor: Amanda (Mandy) Hallenius. Sign up for full video access through:
http://www.davinciinitiative.org/store/c3/Online_Courses.html
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ADDITIONAL MATERIALS:
Additional materials required:
• Binder (for lesson plans and reference printouts from online readings)
• Charcoal (Nitram Amazon or Blick) Box of soft, med., hard (15 sticks total)
• Sanding Paper (200-300 grit)
• Pencil
• Notebook to record time developing drawing
• Paper (Strathmore 500 Charcoal paper white)
• Kneaded Eraser
• Drawing Board (Foam Core size 18X24 White)
• Masking Tape
• Wooden Skewer (can be found in a grocery store) or Knitting needle (thin)
• Small White Objects to Draw (white egg and white cup)
• Adjustable Light, Small Table Lamp
• Optional – Easel
• See Online Resource Bibliography for ordering information.
GETTING STARTED:
• After registering for the course, you will be sent an email with the website address, password and
course key, for The Heritage Institute (THI) online environment, you will need to access your online
(THI) course, along with log in instructions.
• Access each assignment listed here in the online course environment and enter your responses.
• Write your responses in a WORD document and then ‘copy/paste’ them into the Responses box.
• When all assignments are completed, CLICK the 'ALL ASSIGNMENTS COMPLETED'. The instructor
will be notified that you have completed all assignments.
• After the instructor reviews your work and enters her responses you will be notified by email. You will
be instructed to log in and view those responses. SAVE a copy of assignments and responses.
NOTES TO ALL PARTICIPANTS:
• You are not required to be present (i.e. online) specific days or times. You will work at your own pace.
• All responses will be posted online. Large documents, files, photographs or PowerPoint presentations
may be attached as part of your response by using the “Share A File” option.
• You may work collaboratively and submit similar responses on all assignments except the Integration
Paper, which must be individually authored.
• To maintain privacy, please do not refer to students in your papers by their actual names, but rather
use an alias or designation such as “Student A.”
Observational Drawing Skills
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ASSIGNMENTS REQUIRED FOR HOURS OR UNIVERSITY QUARTER CREDIT
A.
INFORMATION ACQUISITION
Assignment #1:
Download and gain access to the video course “Introduction To Advanced Observational Drawing”
Introduction and Materials: Online Video Course Community:
• Become familiar with the video course:
• Take the initial online tour of the platform
• Video Course overview in five (5) sections:
Section 1: About the Da Vinci Initiative:
 Lecture 1-4
Section 2: Setting Up A Still Life:
 Lecture 5
Section 3: Blocking In-Your Design
 Lecture 6-15
Section 4: Shading/Rendering/Turning Form
 Lecture 16-25
Section 5: Finishing the Still Life
 Lecture 26-30
Based on the lecture you are accessing from the video lecture, refer to the online bibliography resources
list to download, print, and/or place in your materials binder any resources that may apply to your studio
or classroom setting.
Introduce Yourself:
Write 1-2 pages introducing yourself and include the following:
• Describe your professional situation and/or studio practice.
• Include reasons for being interested in this course, what you expect to take away, your general
level of experience and proficiency with Observational Drawing and what drawing concepts are
taught within your current curriculum.
AND
• Gather drawing materials (see materials resource list)
• Keep a personal log of hours spent while drawing, viewing videos, and accessing online
materials.
Post your response in the online box provided #1
Assignment #2:
Lecture 1-5
• View online video course Section 1-Introduction and Materials: Lecture 1-5
• From the online bibliography explore the lesson plans from the Da Vinci Initiative.
• Create the low cost light box.
• Access materials and supplies needed, plus ordering resource from course bibliography.
AND
• For your “Observational Drawing” resource binder create one of the following: Using either an
Excel Spread Sheet or Word Document create a classroom materials list of things needed for
teaching Observational Drawing to students. Include vendor, item cost, total cost, and add sales
tax plus possible shipping costs.
OR
Teacher/Artists: Create a material replacements list.
Include Vendor, item cost, total cost add sales tax and possible shipping costs.
Post your response in the online box provided #2.
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Assignment #3
Pre-Assessment/Formative Base line drawing:
• Set up a still life in the light box according to video lecture #5.
• On a half sheet of drawing paper draw the still life image with charcoal.
• Use any method you choose or are comfortable with.
• This should be an easy fun filled quick activity reflecting your present skill set.
• Label and date this drawing Pre-Assessment.
• When completed take a jpeg image of your pre-assessment drawing
• Print a copy for your resource binder.
Write a one (1)-page response to your initial drawing discussing the step-by-step order or process you
took to complete your drawing. Also discuss your overall impression of your pre-formative drawing, any
success and/or frustrations you may have experienced during this initial drawing. Include the time this
drawing took to complete. Remember this is a pre-assessment and not to be judged by anyone but the
teacher/artist. Attach your drawing as a jpeg image to your assignment.
Post your response in the online box provided #3
Assignment #4:
View online video course:
Section 2: Lecture #5 Setting up a Still Life:
Materials needed:
 Box that controls light source
 Light source
 Egg (ovoid)
 White cup
 Salt to place egg/ovoid
 Create and experiment with different still life set-ups.
Section 3: Blocking-in Your Drawing; Lectures #6-15.
Keep an ongoing log sheet of the time it takes you to set up and draw for each session.
AND
Select one of the following two pedagogical models (Bloom’s or Gardner’s Multiple Intelligence) then
access one of Lesson Plan Template sites from the Online Bibliography at the end of this syllabus.
Access the Lesson Plan Template from Da Vinci Initiative web site: http://www.davinciinitiative.org/
This Pedagogical model and lesson plan format will best guide your curriculum framework and lesson
plan development.
AND
Create a 1-2 page word document outlining the pedagogical model chosen, why and the possible lesson
plan template that may fit into your needs. This chosen model will be used to develop your future ODS’s
lesson plan.
OR
The 19th century Master drawings were done as studies or preliminary work leading up to the creation of
a finished painting, some artists that did create drawings as finished works. Examine the finished
drawings of the French Impressionist, Léon Lhermitte, (see online bibliography). Write a (1-2) page paper
discussing his drawings, paintings and an overview reflection about his work.
Post your response in the online box provided #4
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Assignment #5:
Lecture 6 Accurate Measurements of Composition:
Using your chosen lesson plan format, develop one lesson on Comparative Measurement
and Visual Literacy or how to incorporate STEAM (Science, Technology, Engineering, Art and
Math).
AND
Generate a 1-2 page document that outlines Comparative Measurement. Break down the
skills and explain how you would introduce this concept to any small group of students, artists or
to a peer.
Post your response in the online box provided #5
Assignment #6:
Section #3 Blocking-in Your Drawing: Video lectures 6-15
a. Begin drawing your still life with the video lecture. Take your time and pause the video
when needed.
b. Read: The Practice and Science of Drawing: Line Chapter 4, 11 & 12
c. Using your lesson plan template of choice, develop one (1) lesson plan on how to draw
any object within your classroom or studio. Draw that object. Use the notional space
concept and break down the drawing by using inferred fraction and angles of lines. Using
classroom materials (ruler, protractor…) how would you introduce or discuss how to plot
angles and big lines within an Observational Drawing.
OR
In a one-two (1-2) page paper, discuss the materials, adapted materials, conceptual breakdown
and the use of fractions, angles of lines, fine motor skills and refined fine motor skills. Remember
to break these concepts into a format discussing step-by-step hierarchical format.
Remember to keep an ongoing log sheet of the time it takes you to set up and draw for each session.
Post your response in the online box provided #6
Observational Drawing Skills
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Approved 4/2/2015
Assignment #7:
Access remaining online course videos 16-25
Read: The Practice and Science of Drawing: Chapters 13, 14 and 15.
From your chosen lesson plan format create a Value Scale Lesson Plan and Worksheet with
examples. See Online Bibliography for supportive resources.
OR
Create a Value Scale Reference Card that can be used in the studio or classroom.
In a one-two (1-2) page paper discussing the steps for creating this value scale card and the
process, technique and skill you used to implement this scale. Also discuss how to use the
value scale as a tool in drawing and why an artist uses values with observational drawings.
OR
Make a Still life composition using shapes cut out of black, white and grey construction paper.
Draw the composition with charcoal or pencil. In a one-two (1-2) page paper discuss the steps for
creating this composition and your drawing process.
Post your response in the online box provided #7
Assignment #8
Read: The Practice and Science of Drawing: Chapters 16.
AND
• Continue with your Observational Drawing online videos: Section 4: Shading/Rendering/Turning
Lectures #16-30.
• Continue to render and finish your Observational Drawing.
• When the drawing is completed write a 1-2 page response paper outlining the hierarchical
process, total time spent drawing, your reflections, success and struggles for producing this
drawing.
• Compare and contrast your pre-assessment/formative drawing from assignment #3.
• Attach a jpeg of your finished observational drawing to your assignment.
OR
Examine the following two 19th-century studies and finished paintings of Frederick Lord Leighton
and Edward Burne-Jones (links in online bibliography) and the work preliminary to them. Answer
the question: Why did the artist create this preliminary work? In a 2-3 page paper discuss
gesture, expression, emotional thrust, lighting, composition, and accurate contours.
Post your response in the online box provided #8
This completes the assignments required for Hours.
Continue to the next section for additional assignments required for University Quarter Credit.
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ADDITIONAL ASSIGNMENTS REQUIRED FOR UNIVERSITY QUARTER CREDIT
B.
LEARNING APPLICATION
(Required for 400 and 500 Level)
In this section you will apply your learning to your professional situation. This course assumes that most
participants are classroom teachers who have access to students. If you are not teaching in a classroom,
please contact the instructor for course modifications. If you are a classroom teacher and start or need to
complete this course during the summer, please try to apply your ideas when possible with youth from
your neighborhood, at a local public library or parks department facility (they will often be glad to sponsor
community-based learning), or with students in another teacher’s summer classroom in session.
Assignment #9:
Using the Da Vinci Lesson Plan format found at: http://www.davinciinitiative.org/free-lesson-plans.html or
any lesson plan template you choose.
• Develop three to five (3-5) lesson plans on the process of Observational Drawing. Develop these
lessons with the idea of integration into one part of the common core curriculum or “STEAM”
(Science, Technology, Engineering, Art and/or Math). Approach this assignment for your
particular grade level, setting, or studio practice. This unit may include activities you have
developed as a result of this course.
OR
• Given the Inquiry Cycle from the “Online Bibliography” found at the end of the syllabus create a
unit of study that is supported and enhanced with observational drawing. Post a three to five (3-5)
page Word document, a mind map, a Prezi or a Haiku Deck presentation of your unit plan.
OR
• Develop a solid base online artist portfolio of the drawings you have created from this course and
include any other Observational Drawings you have created within an Atelier setting. Attach
formatted portfolio web site URL to access for review.
AND
Attach a jpeg or scanned image of your video completion certificate from your video lecture
course. This certificate will be sent to you via email from the online provider.
Post your response in the online box provided #9.
Assignment #10:
Implement the unit plan you developed in assignment # 9 and write a three to five (3-5) page
overview, include reflection and possible adjustments for each lesson. Please include mention of
any specific student achievements and include samples of work products.
OR
Write a three to five (3-5) page paper discussing the experience of participating either in an
Atelier or studio setting, your process for Observational Drawing, and how this experience has
altered your drawing skills and/or teaching skills. Provide an overview of the program you
participated in or with. Include an overview of this course outline and what skills were introduced,
hours completed, for each session and how this course contributed and enhanced your
Observational Drawing skills.
PLUS
Write a (3-5) page paper examining the work of one of the following Dutch Masters: Willem
Claesz Heda, Pieter Claesz, Jan van Huysum, or Abraham van Beyeren (see online
bibliography). These master artist implemented techniques similar to those used for your still life
drawing. Discuss methods or techniques the Old Master would use. These techniques should be
applicable to all themes and subjects of which may be explored in art.
Post your response in the online box provided #10.
Observational Drawing Skills
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500 LEVEL ASSIGNMENT
Assignment #11:
(500 Level Only)
In addition to the 400 level assignments, complete one of the following:
Option A) Conduct online research for articles that point to the advantages and challenges of using
Observational Drawing for instruction, and summarize your findings in a two to three (2-3) page paper.
OR
Option B) Prepare and present your unit of study or portfolio from assignment #9 in a Power Point, Prezi,
or Haiku Deck format to your faculty, collaborative group, or to a colleague. Accompany your presentation
with a one to two (1-2) paper, in which you discuss any comments, adjustments, or ideas that may have
been generated by your presentation.
OR
Option C) Another assignment of your own design with the instructor’s prior approval.
Post your response in the online box provided #11.
ADDITIONAL ASSIGNMENT REQUIRED FOR UNIVERSITY QUARTER CREDIT
C.
INTEGRATION PAPER
(Required for 400 and 500 Level)
Assignment #12:
Complete the requirements for university quarter credit by submitting a final 2-3 page Integration paper.
A heading is required. Please use the following format:
Your Name:
Date:
Course Name:
Course Number:
Number of Credits:
Level: (400 or 500)
Advisor Name:
Respond online to each of the 5 questions below. (First list the question and then write your answer)
1. What did you learn vs. what you expected to learn from this course?
2. What aspects of the course were most helpful and why?
3. What further knowledge and skills in this general area do you feel you need?
4. How, when and where will you use what you have learned?
5. How and with what other school or community members might you share what you learned?
Post your response in the online box provided #12.
INSTRUCTOR COMMENTS ON YOUR WORK:
Be sure to mark the “All Assignments Completed” section in the online course environment to notify the
instructor that you have completed the course.
Upon receiving notification of your completion of all your course assignments, your instructor will post final
written comments in the HOL online environment.
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QUALIFICATIONS FOR TEACHING THIS COURSE:
Debbie Supplitt, M.A.Ed./M.Ed., received her third Masters of Art Degree in Art Education from Boston
University. She holds a dual Masters Degrees and a Bachelors degree from San Francisco State
University. Debbie has worked with students of all levels, including pre-school, elementary, middle school,
high school and professional educators, since 1978. She is certified in Washington, Oregon and California
in Art Education, Visual Arts, Pre/K-12, Special and Elementary, Middle School and High School
Education. She is highly qualified in the core areas of Art, Music, Reading, and Special Education as well
as being a Washington State trained Intervention Specialist. Currently she serves as an active Co-Vice
President for the Washington Art Educators Association (WAEA) representing Washington State’s Art
Teacher for ESD 112.
Debbie knows the importance of providing a creative environment where all students and teachers can
thrive. Presently she is working in her dream position as a full-time middle school Art Teacher.
Debbie provides classroom teachers with the tools and resources needed to integrate engaging and
current curriculum into their daily programs. She is passionate about providing exciting, meaningful,
useful, and fun filled continuing education for all teachers/artist.
Observational Drawing Skills
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ONLINE RESOURCE, REFERENCE & MATERIALS
Materials List:
• Drawing Board
• 2 Cardboard Boxes- 1 for stage, 1 to elevate to eye height
• Charcoal paper (Strathmore 500 White 24 pages size: 18”x24”
• Nitran Vine Charcoal: 1 box hard, 1 box medium, 1 box soft
• Sandpaper 220 Grit for sharpening charcoal or graphite
• Soft fan brush for dusting
• 2-Kneaded Erasers
• Skewer or skinny knitting needle or dowel
• A few sheets of med grey toned paper to line the inside of your still life box
• Light source (goose neck artist desk lamp or any lighting source) for object lighting in still life
• Newsprint for padding (Strathmore Newsprint pad 2-3 sheets or any padding paper)
• Removable masking tape
• Optional: Classroom use 2B or B pencils
Materials may be ordered from:
• Blick Art Supplies: www.dickblick.com
•
Amazon: Nitram Charcoal Sticks: 1pkg. Soft, and 1 pkg. Hard (3 pkg.) Buy all three in one order:
$36.13 (Free Shipping)http://www.amazon.com/Nitram-Academie-Fusains-Fine-Charcoal
•
Optional – Easel Windsor Newton H Frame Easel ($130) http://www.jerrysartarama.com/
http://www.jerrysartarama.com/discount-art-supplies/easels/studio-easels/winsor-and-newtonshannon-h-frame-studio-easel.htm
Optional Textbook: (Excellent Resource)
Lessons in Classical Drawing: Essential Techniques from Inside the Atelier
Hardcover – November 15, 2011 Amazon.com New: $24/Used: $16
http://www.amazon.com/Lessons-Classical-Drawing-Essential-Techniques/dp/082300659X
OR
Downloaded Kindle $15
http://www.amazon.com/Lessons-Classical-Enhanced-Juliette-Aristides
ebook/dp/B007I5QNRE/ref=tmm_kin_swatch_0?_encoding=UTF8&sr=&qid
Observational Drawing Skills
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Online Bibliography
Online Resources and Materials to help support video lecture presentations.
Assignment #2
Supports Video Lecture 2-3
Lesson Plans: Da Vinci Initiative: Download any lesson plans from this site.
http://www.davinciinitiative.org/free-lesson-plans.html
Aristides, J. (2010) Charcoal Rendering: Paper
http://aristidesatelier.com/blog/charcoal-rendering-paper
Assignment #3
Supports Video Lecture 1-4
Aristides, J. (2010) How to Sharpen Charcoal
http://www.aristidesatelier.com/blog/how-sharpen-charcoal
Dwyer, D. (2010) Studio Lighting
http://www.aristidesatelier.com/blog/studio-lighting
Afass, S.B. (2014) Udemy Blog
https://blog.udemy.com/drawing-with-charcoal/
Proko, S. (2014) How To Hold and Control Your Pencil
https://www.youtube.com/watch?v=pMC0Cx3Uk84
University of Utah,(2013) Department of Mathematics: Perspective in Drawing
http://www.math.utah.edu/~treiberg/Perspect/Alberti.GIF
Aristides, J. (2011) How to Draw a Circle or an Ellipse
http://aristidesatelier.com/blog/how-draw-circle-or-elipse-john-w-clark-method
University of Delaware: (2011) Foundations of Art; Measuring
http://www.udel.edu/artfoundations/drawing/measuring.html
Conlon,R. (2011) Blog Spot: Measured Drawing
http://www.rogerconlon.com/10-measured-drawing.html
http://www.rogerconlon.com/uploads/6/1/8/0/6180676/3077529_orig.jpg
University of Utah Department of Mathematics(nd). Perspective of Circles
http://www.math.utah.edu/~treiberg/Perspect/Perspect.htm#circle
Observational Drawing Skills
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Assignment #4
Choose a Pedagogical Model:
Da Vinci Initiative Lesson Plan model (2014)
http://www.davinciinitiative.org/free-lesson-plans.html
OR
McKnight, H. (2013) Multiple Intelligence Video and Chart
http://suononline.pbworks.com/w/page/60059099/Multiple%20Intelligences
AND
Multiple Intelligence Lesson Plan Template
http://2.bp.blogspot.com/cKEWMy7E5co/TdGIhU2FrSI/AAAAAAAAAJQ/8NBHZBo34Xw/s1600/Multiple+Intelligence+Planner.bmp
OR
Blooms Newly Revised Taxonomy: University of Tanku, Kuala Lumpur, Malaysia
http://www.utar.edu.my/fegt/file/Revised_Blooms_Info.pdf
AND
Blooms Newly Revised Taxonomy Kurwongbah State School, Queensland Australia
http://www.gcssk12.net/fullpanel/uploads/files/revised-blooms-chart.pdf
AND
Blooms Taxonomy Lesson Plan Template: Free Download (register to get free download)
https://www.teacherspayteachers.com/Product/Revised-Blooms-Taxonomy-Lesson-Plan-Template-52762
OR
Sigmon, C. Blooms Lesson Plan Template:www.cherylsigmon.com/doc/LessonPlanTemplate.doc
OR
Homeschooling Lesson Plan Template:http://www.new2homeschooling.com/2011/08/unit-studytemplate.html
OR
Rohrer, K. (2012) Incredible Art Department, (2012) www.Incredibleart.org Lesson Plan Template for all
grades:
http://www.incredibleart.org/files/images/template2.gif
OR
Any lesson plan template of your choosing. Provide URL address or attached image of template.
OR
Examine the finished drawings of the French Impressionist, Léon Lhermitte, (see online bibliography).
BBC Your Paintings: View slide show of 12 paintings. http://www.bbc.co.uk/arts/yourpaintings/artists/leonaugustin-lhermitte
Supports Video Lecture #10:
Three examples of Follow Through Lines drawn by Leonardo DaVinci
https://elementsunearthed.files.wordpress.com/2014/05/davinci_drawing.jpg
http://3.bp.blogspot.com/_N4RNkM-EcrI/StgKaORMj-I/AAAAAAAABPU/dZSbztGxCoE/s1600h/daVinciRtTheSmeltingSystem.jpg
http://webdesignledger.com/wp-content/uploads/2009/04/hand_drawn_7.jpg
Impey, J. Art Room 104 (2014) Art Room Blog
http://artroom104.blogspot.com/2012/10/4th-grade-value-cities.html
Cousins, C. (2015) Looking at the Images: Phi Grid Vs. The Rule of Thirds
Design Shack Blog post.
http://designshack.net/articles/layouts/looking-at-images-phi-grid-vs-rule-of-thirds/
Observational Drawing Skills
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Supports Lecture Video #15 Shadow Shapes:
Kostel, H. (2013) Nocornersuns.com Light and Shadow Practice worksheet
http://nocornersuns.blogspot.com/2013/08/light-and-shadow-practice-handout.html
Drawing & Painting Lessons with Edward A Burke
http://www.drawingandpaintinglessons.com/Drawing-Lessons/Basic-Geometric-Shapes.cfm
http://www.drawingandpaintinglessons.com/images/BD_ShapesForms.jpg
Assignment #8
Section 4: Shading/Rendering/Turning Form
Supports Video Lectures #16-25
Value Scale Worksheet
http://3.bp.blogspot.com/-6tNbWIADZc/UHV3kjILrVI/AAAAAAAADOU/FIRkaRvN3ww/s1600/Value+Scale.JPG
Practice Value Shading Worksheet
http://artroom104.blogspot.com/2012/10/4th-grade-value-cities.html
Shading Worksheet with Rubric
http://www.docstoc.com/docs/102838666/Shading-Exercises
Art Instruction Blog (2009) Value Study with three values: Dark Medium and Light
http://www.artinstructionblog.com/wp-content/uploads/2009/08/values-sheridoty-2009_img_15.jpg
Frompo.com (2015) Value Scale Using Lines Worksheets:
http://images.frompo.com/126feaf6985c0a78e7ead63d94433fae
Furton, (2014)Studio Art: Value Study and technique
http://tinkham-studioart.weebly.com/value-scale.html
Costello, E. (2012) The Art of Erin Costello. Example of 3 Value Still Life
http://twinsane8.blogspot.com/2012_10_01_archive.html
Hopcroft, M. (2013) Another Paper cut Value Study. Examples of Atelier artist paper cut value study
http://www.michaeljhopcroft.com/tag/papercut/
Supports Video Lecture #21:
Understanding Shadow and Light: Rendering Form Closer light source
Boyer, S.L. (2009) Light Source, Cast Shadows and the Axis Reference sheet
http://www.artinstructionblog.com/wp-content/uploads/2009/08/values-sheridoty-2009_img_8.jpg
Blend Space.com (2014). Blend Space Light and Shadow Reference Sheet
https://www.blendspace.com/lessons/hcbjibAynhvR-A/g8u1-tech-skills-reflection-light-shadow-texturedrapery
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Section 5-Finishing the Still Life:
Supports Video lectures 26-30
Rowland, J. (2014). 7 Secrets That Will Add Depth to Your Drawings
https://www.fivepencilmethod.com/articles/7-secrets-to-adding-depth-and-dimension/
OR
Examine the following two 19th-century studies and finished paintings:
Frederick Lord Leighton: study of Dorothy Deane and his completed painting of Phoebe
The Art Tribune:
http://www.thearttribune.com/spip.php?page=docbig&id_document=847
AND
Art Renewal: Phoebe Oil:
http://www.artrenewal.org/pages/artwork.php?artworkid=11380&size=large
PLUS
Tate: Composition Study for ‘The Merciful Knight’ 1863.
http://www.tate.org.uk/art/artworks/burne-jones-composition-study-for-the-merciful-knight-a0008
AND
Google Art Project: Edward Burne-Jones: ‘The Merciful Knight’ Painting
http://commons.wikimedia.org/wiki/File:Edward_Burne-Jones_The_Merciful_Knight__Google_Art_Project.jpg
Assignment #9 Lesson & Unit Plan
Develop a Three to four lesson/unit plan. Download the following sites to help support your unit plan.
Da Vinci outline for lesson development:http://www.davinciinitiative.org/free-lesson-plans.html
OR
Elementary model to access:
http://www.summit.k12.co.us/Page/1714
OR
Middle School and or High School access the following: 5 E’s Learning Framework:
http://www.woodgrovesec.moe.edu.sg/wbn/slot/u2357/Curriculum%20Innovation/5E%20Learning%20
Cycle.jpg
OR
Middle School and Secondary Teachers access: The Inquiry Ladder: The Inquiry Process:
http://blogs.kqed.org/mindshift/2013/10/the-inquiry-process/
AND
All educator’s access and download: Apps for the Learning Inquiry Model:
http://resourcelinkbce.files.wordpress.com/2013/06/apps-poster.pdf
Questions to support the development of your unit. Access and download the Inquiry Cycle
Lesson Plan for the Wall: http://ambrit-rome.com/staff/documents/PyP/InquiryCycleForWall.pdf
Color image of Inquiry Cycle to download:
http://primelib.pbworks.com/w/page/18467771/Research%20and%20Inquiry#TheInquiryCycle
Classroom examples for unit plans can be access at the following sites. Adapt this model to fit your
curriculum needs and include the apps selected. Pro Diva Blog: http://www.prodivame.com/leighsblog.html http://www.prodivame.com/tashs-blog/planning-inquiry-together
OR
PYP Qatar Academy Approaches to Teaching/Planning
http://pypqaprimary.blogspot.com/p/approaches-to.html
OR
The IB Inquiry Cycle: International School Site: http://intlschool.org/storage/wp-sitephotos/2012%20big%20color%20poster.jpg?__SQUARESPACE_CACHEVERSION=1345156003467
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Assignment #10:
Please write a (3-5) page paper examining the work of your chosen master artists who would have
implemented similar techniques used for your still life drawing.
Willem Claesz Heda: BBC, Your Paintings: Six paintings by Willem Claesz. Heda: View 6 paining Slide
showhttp://www.bbc.co.uk/arts/yourpaintings/artists/willem-claesz-heda
AND
Google Art Project: Willem Claez Heda http://commons.wikimedia.org/wiki/File:Willem_Claesz._Heda__Still-Life_-_Google_Art_Project.jpg
OR
Pieter Clasez: The Metropolitan Museum of Art Collection (2014): Pieter Claesz:
https://www.rijksmuseum.nl/en/explore-the-collection/overview/pieter-claesz
AND
Still Life with a Skull and a Writing Quill: http://www.metmuseum.org/collection/the-collectiononline/search/435904
OR
Jan van Huysum: The J. Paul Getty Museum: Jan van Huysum: (ND)
http://www.getty.edu/art/collection/artists/288/jan-van-huysum-dutch-1682-1749/
AND
Vase with Flowers: http://www.getty.edu/art/collection/objects/652/follower-of-jan-van-huysum-vase-offlowers-dutch-mid-18th-century/
OR
Abraham van Beyeren: BBC: Your Paintings: Abraham van Beyeren: View 16 painting slide show.
http://www.bbc.co.uk/arts/yourpaintings/artists/abraham-van-beyeren
Vocabulary List
Observational Drawing
Aerial/Atmospheric Perspective:
The means by which the illusion of atmospheric distance and depth is created by rendering objects in
background space with less edge and value contrast. May also be accompanied by a shift from warmer
to cooler hues. softer focus or lighter value.
Abstraction:
The reduction or simplification of an image or object to an essential aspect (geometric or organic) of its
form or content.
Axis:
An imaginary straight line that indicates movement and the direction of movement.
Background:
Objects or undetermined spaces surrounding the main subject of a work.
The most distant zone of space in three-dimensional illusion
Backlight:
A light source positioned behind a person or object that can create a silhouette or separate the person or
object from the background.
Base Tone:
The darkest tone on a form, located on that part of the surface that is turned away from rays of light.
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Cast Shadow:
The shadow thrown by a form onto an adjacent or nearby surface in a direction away from the light
source.
Chiaroscuro:
A word borrowed from Italian ("light and shade" or "dark") referring to the modeling of volume by depicting
light and shade by contrasting them boldly. This is one means of strengthening an illusion of depth on a
two-dimensional surface, and was an important topic among artists of the Renaissance.
Composition:
The organization and interaction of shapes, forms, lines, patterns, light and color.
Cone of Vision:
The visual area represented by the drawing usually corresponding to a normal person’s vision.
Content:
The subject and meaning of a work of art.
Continuous Line Drawing:
A drawing in which the implement remains in uninterrupted contact with the picture plane creating
enclosed shapes.
Contour:
The outline and other visible edges of a mass, figure or object.
Contour Line (Drawing):
A single line that represents the edge of a form or group of forms and suggests three-dimensional quality
indicating the thickness as well as height and width of the form it describes. Contour line drawing uses
subtle overlapping planes.
Convergence:
In linear perspective, parallel lines in nature appear to converge (come together) as they recede to a point
on the Eye Level or Horizon Line. into the picture plane.
Core Shadow:
The darkest area of an object.
Cross-Contour Lines:
Multiple, curving parallel lines running over the surface of an object horizontally and/or vertically that
describe its surface qualities. Much like wire framing in 3D design.
Cross Hatching:
A drawing technique to shade an object using two or more networks of parallel lines in a gradual angular
progression (to achieve a build up of complex value).
Drawing:
Depiction of shapes and forms on a surface chiefly by means of lines. Color and shading may be
included. A major fine art technique in itself, drawing is the basis of all pictorial representation, and an
early step in most art activities. Though an integral part of most painting, drawing is generally
differentiated from painting by the dominance of line over mass.
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Edge:
The rim or border, the place where two things meet: the background (negative space) meets surface of
objects (positive space), a “tone” or “value” meets a different tone/value.
Eye Level:
In linear perspective, the height at which the eyes are located in relation to the ground plane. Standing
creates a high eye-level while sitting creates a lower one. In most views, the eye level will match a
horizon line. The same as horizon line. All vanishing points in one and two point perspective are
positioned on the eye level.
Figure:
The primary or positive shape in a drawing. A shape that is noticeably separated from the background.
The figure is the dominant, advancing shape in a figure/ground relationship.
Figure-Ground Relationship:
An arrangement in which positive and negative shapes alternatively command attention. Also known as a
positive/negative relationship.
Foreground:
The “nearest” space represented to the viewer. The “front” of the visual stage.
An exaggeration of perspective in which elements nearer to the viewer are shown much larger, and
elements at a distance appear much reduced in size.
Foreshortening:
A technique for producing the illusion of an object’s extension into space by contracting its form. A way of
representing a subject or an object so that it conveys the illusion of depth -- so that it seems to go back
into space.
Freehand Drawing:
Drawn by hand, without the use of any mechanical device -- without the aid of a straightedge, compass,
protractor, French curves, computer equipment, etc. This is the opposite of mechanical drawing.
Gestalt:
A total mental picture, or conception, of a form.\
Gradation:
Any gradual transition from one tone to another. In drawing, shading through gradation can be used to
suggest three-dimensional illusion.
Gesture:
A spontaneous representation of the dominant physical and expressive stance of an object. The act of
making a sketch with relatively loose arm movements (gestures) -- with the large muscles of the arm,
rather than with the small muscles of the hand and wrist; Or a drawing made this way.
Grid:
A framework or pattern of crisscrossed or parallel lines. A lattice. When crisscrossed, lines are usually
horizontal and vertical; and when lines are diagonal, they are usually at
right angles to each other.
Ground:
The actual flat surface of a drawing, synonymous with a drawing’s opaque picture plane. In a three
dimensional illusion, ground also refers to the area behind an object (or figure).
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Half Tone:
After the highlight and quarter tone, the next brightest area of illumination on a form. The halftone is
located on that part of the surface that is parallel to the rays of light.
Highlight:
The brightest area of illumination on a form, which appears on that part of the surface most perpendicular
to the light source.
Horizon Line:
In linear perspective, the line on which all vanishing points are positioned. More accurately described as
the eye line or eye level.
Layout:
The placement of images within a two dimensional format.
Light Tone:
After highlight, the next light value of illumination on a form. Sometimes called indirect light.
Line:
A mark with length and direction. An element of art which refers to the continuous mark made on some
surface by a moving point. Types of line include: vertical, horizontal, diagonal, straight or ruled, curved,
bent, angular, thin, thick or wide, interrupted (dotted, dashed, broken, etc.), blurred or fuzzy, controlled,
freehand, parallel, hatching, meandering, and spiraling. Often it defines a space, and may create an
outline or contour, define a silhouette; create patterns, or movement, and the illusion of mass or volume. It
may be two-dimensional (as with pencil on paper) three-dimensional (as with wire) or implied (the edge of
a shape or form).
Line gesture:
A type of gesture drawing that describes interior forms, utilizing line rather than mass.
Local Value:
The basic tonality of an object’s surface. regardless of incidental lighting effects or surface texture.
Mark:
A visible trace or impression on a surface, such as a line, a dot, spot, stain, scratch, etc.
Mass:
The density or weight of an object.
Massing:
In composition: to block-in forms with the purpose of achieving an overall organization of visual weight\
Mass gesture:
A system of broad, gestural marks used to create density and weight in a form.
Picture Plane:
The flat, two-dimensional surface on which a drawing is made.
Plane:
Any flat level or surface.
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Plastic:
Denotes the illusion of three dimensionality or movement into the picture plane as it relates to the flat,
two-dimensional nature of the picture plane itself. We refer to this as plastic space in contrast to
perspective space.
Plumb Line: A line with a plumb attached to it, used for finding or determining the vertical and an upright
surface.
Positive Space:
The shape of an object that serves as the subject for a drawing. The relationship between positive shape
and negative space is sometimes called figure/ground, foreground/background relationship.
Proportion:
A term that refers to the “accurate” relationship of part to part in a realistic drawing. It can also refer to the
expressive purposes, e.g. Distortion of proportion to consciously or unconsciously achieve a subjective
intention. Proportion also relates to a sense of balance.
Reflective Light:
The relatively weak light that bounces off a nearby surface onto the shadowed side of a form.
Relative Scale:
A way in which to represent and judge the spatial position of an object in three-dimensional illusionistic
space so that forms drawn smaller appear further away and forms that are drawn larger appear closer.
Representational:
A drawing that attempts to achieve a near-likeness to the objects being drawn. Drawings which strive to
achieve the qualities of realism.
Rendering:
A depiction or an interpretation. Also, a drawing in perspective of a proposed structure. (Rendering can be
used either as a noun or as a verb.)
Scale:
A ratio or proportion used in determining the dimensional relationship between a representation to that
which it represents (its actual size), such as maps, building plans, and models.
Shallow Space:
A relatively flat space, having weight and width but limited depth.
Shape:
A contained, edged-in area on the two-dimensional surface. Or an area that suggests containment. A
shape is always interdependent with another element (shape or space) in the composition.
Sighting:
The visual measurements of objects and spaces between objects.
Silhouette:
Any dark two-dimensional shape seen against a light background.
Sketch:
A quick drawing that loosely captures the appearance or action of a place or situation. Sketches are often
done in preparation for larger, more detailed works of art.
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Space:
The distance between images or points in a drawing. We contain space when defining edges of
interrelated shapes.
Station Point:
In linear perspective, the fixed position a person occupies in relation to the subject that is being drawn.
Surface:
The actual physical structure or texture of the drawing paper containing degrees of smoothness, gloss, or
roughness.
Texture:
The actual or suggestive surface quality of a two-dimensional shape or three-dimensional volume.
Texture can be created by using skillful drawing techniques, erasure, rubbing, or employing specific
materials such as sand.
Two Dimensional Space:
The flat, actual surface area of a drawing, which is the product of the length times the width of the drawing
paper support.
Three Dimensional Space:
The actual space in the environment, and the representation of it in the form of pictorial illusion.
Value:
Black, white and the gradations of gray tones between them. The relative degree of light and dark.
Value Relativity:
The changing visual identity of values in juxtaposition, sometimes called value contrast.
Value Scale:
The gradual range from white through gray to black.
Value Pattern:
The arrangement or organization of values that control compositional movement and create a unifying
effect throughout a work of art.
Visual Weight:
The potential of any element or area of a drawing to attract the eye.
Volume:
The overall size of an object, and by extension the quantity of three-dimensional space it occupies.
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