ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
FRAGMENTED PORTRAITURE
Drawing & Painting 11-12
Andrew Smith
1
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
TABLE OF CONTENTS:
1.
2.
3.
4.
5.
6.
7.
8.
Title Page
Table of Contents
Unit Overview
Graphic Organizer (with dates)
Student Handout & Unit Review
How to write an artist statement
Lesson 1 – Intro & Primary
Colour Portraits
9. Lesson 2 – Hockney Intro
10. Lesson 2
11. Unit Rubric & Assessment
2
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
3
OVERVIEW FRAGMENTED PORTAITURE: Painting & Drawing 11-12 Unit Plan
UNIT INSPIRATION:
This layering unit is inspired by the work of Hermetic Cubism (1910-12), David
Hockney’s joiners and the fragmented portraitures of Benjamin Garcia. Through drawing
techniques and layering, students will build their ‘Fragmented Portraits’ in an
assemblage process that has them deconstruct and then reassemble in ways we will
learn to ‘see’ ourselves.
Hermetic Cubism: Figures and objects are dissected or “analyzed” into a multitude of small facets.
These were then reassembled, to evoke those same figures or objects. During “high” Analytic Cubism
(Hermetic), Picasso and Braque abstracted their works so that they were reduced to just a series of
overlapping planes and facets mostly in near-monochromatic browns, grays or blacks.
THE FINAL PRODUCT:
The final works will test students’ ability to build compositions of life drawings
and sketches. How will they choose which eye they have drawn is the best choice for
their portrait? Will it be the realist work or from a gestural drawing that leaves us with
an impression of the person we are looking at?
UNIT RATIONALE
The exercise can break down portraiture into bite sizes pieces as students look to
create a self-portrait, a task that can be intimidating. The face can be broken down into
fragments and students will be asked to draw what they see, not what their eye
attempts to capture when looking at someone’s whole face. The project will also
incorporate elements of collage, as students will be tasked with building and layering
their image out of drawings they develop through a series of classes and exercises.
POSTMODERN PRINCIPLES – HYBRIDITY & LAYERING:
How is a self-portrait transformed or manipulated when the image is broken into
fragments and then rebuilt? Through Hybridity (using more than one media to complete
a piece) and Layering, what happens to the way someone is portrayed when the work is
not attempting to be a one-medium realist visual representation.
TARGET AUDIECE & GRADE LEVEL:
This unit is designed for high school students that have previously participated in
figure & still life drawing exercises. The previous unit allowed them to develop their
skills in proportions and realistic representation. This will allow them to build on those
skills in creating their fragmented portrait.
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
STUDENT SAMPLES – FINAL PROJECTS
4
5
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
FRAGMENTED PORTRAITURE
LESSON
OBJECTIVES
ACTIVITIES
MATERIALS
& VISUALS
VOCAB
TEACHING
STRATEGIES
ASSESSMENT
Tues. Feb 24
- Students will be introduced
to new TC Mr. Smith and to
the Fragmented Portraiture
Unit
- Students will experiment
with primary colours in a
portraiture drawing exercise
and look at layering through
blues (dark tone), reds (mid
tones) and yellows
(highlights)
- Students will be introduced
to Chuck Close and his
painting methods for
portraits
- Teacher
Introduction
- Entrance Slips
- Unit Theme & Intro
- Drawing Activity:
recreating image
through primary
colours. Demo +
Students beginning
drawing exercise
- Chalk Pastels
- Student
sketchbooks
- Powerpoint
- Images of the
day: Chuck Close
- David Hockney
- Paper slips x30
(x2) for entrance
slips
- Tone: Refers to the
lightness or darkness
(highlights & shadows) and
how they can be applied to
building a portrait
- Shape: Building
objects/forms through 3dimensionality (relevant
through building out the
face through colour fields).
- Setting the tone for
first day of class with
students and
reviewing clean up
and materials
handling procedures
- Images of the day to
stimulate
conversation,
introduce new
drawing technique
- Group rotation with
students switching
partners at least once
during the class
- Formative: Entrance slips
will allow me to gauge
where students are at
with drawing experience,
what they would like to do
in class and what I can do
for them while I’m their
ST
- Primary colour drawing
exercise can allow me to
gauge some of their
drawing skills & levels of
comfort with the
mediums
- Introduce students to new
unit and the concept of
‘seeing’ through David
Hockney’s Joiners and the
way our gaze ‘dances’ when
looking at someone.
Objective to have students
understand how the process
will be applied to their work
- Provide students time to
complete their primary
colour portraits
- Discussion of
Cubism and the ways
of seeing in reference
to David Hockney
- Wrap up of drawing
activity (at least three
drawings per student
of classmates)
- HW ACTIVITY: What
is Cubism? Print off /
Sketch an example
- Images: Hermetic
Cubism , David
Hockney’s Joiners
- Colour pastels to
wrap up day one
drawing exercise
- Drawing paper
with at least 2
sheets per student
- Students to work
independently using
mirrors or phones
once they have been
introduced to the
technique through
drawing in pairs
- Summative: Completion
of task. Use of primary
colours, values and tones
to create forms.
- Formative: Students can
engage in discussion
around cubism and relate
it to modern day artistic
practice. Opportunity to
test knowledge in art
history and skills in
applying those theories to
their own practice.
- Students will engage with gestural drawing exercises, producing
several detailed images of parts of their own face for their portraits
- Images of the day (Hockney, Benjamin Garcia) & Class
Discussion
- Gestural Drawing activity (1 minute at first per region
of the face; eye 1, nose, eye 2, chin, ear)
- Stickies – begin selecting top images for fragmented
portrait
- Images of the Day: David Hockney Joiners,
Benjamin Garcia portraits
- Charcoal Pencils
- HANDOUT: Detailing the final assignment for
class to begin building towards
- Gestural Drawings: Works of art defined by their rapid execution.
Typical situations involve an artist drawing a series of poses taken by a
model for short 2 mins – 30 second bursts
- Form: Is a 3-dimensional object having volume and thickness. It is the
illusion of a 3-D effect that can be implied with the use of light and
shading techniques.
- Images of the day
- Demonstrating gestural drawing (minimizing amount
of slow lines, emphasis on quick drawing)
- To build on ways of ‘seeing’ for students through blind contour
drawing technique & approaches to building layered portraits
- Images of the Day & Teacher-led Demo for Blind
Contour
- Activity: Continuous Blind Contour first with partners
and then of self portraits (emphasis on creating more
than one)
- Images of the Day: Blind Contour examples
(Egon Schiele), student work examples
- Blind Contour: Drawing without looking at the paper.
- Photomontage: Composition of various existing images such as from
photographs or prints and arranged so that they join, overlap or blend
to create a new image.
- Teacher-led demo of continuous blind contour
- Emphasis on not ‘cheating’ and looking at our
drawings. Really trying to build towards ‘tracing’ with
our eyes and not being worried about the final product
- Formative: Anonymous exit slips for self check-ins and progress
reports for TC to gauge where students are at.
- Demonstrate & outline
expectations of what the
final assignments are to look
like using gel medium or
liquid glue on panel
- Work day for students to
finish their drawings &
fragments
- Teacher-led
demonstration of
assembling images
- Students begin to
use handout with
final fragments of
assemblage listed
- Handout from
previous class
- Sketches &
Samples from
teacher’s
sketchbook (for
demo)
- Student drawing
paper with detailed
self portrait
drawings
- Self-portrait:
Representation of an artist,
drawn, painted,
photographed, or sculpted
by the artist.
- Assemblage: Consists of
making three-dimensional or
two-dimensional artistic
compositions by putting
together found images and
objects
- Teacher led
demonstration, then
reviewing the rubric
for
expectations/require
ments of students
Formative: Self
assessment and beginning
states of self evaluation.
- Provide opportunity for
working day where students
can finalize their portraits
and ensure works are ready
for final day critique
- Images of the day:
Possibilities using
teacher’s images and
collage samples
- Working Day
No new vocab.
- Students will be able to
speak to their work and
participate in meaningful
dialogue through critique
- RULES: Teacher-led
review of what’s
appropriate for class
critique
- START: Gallery Walk
with accompanying
artist statements on
- Images of the day
and Samples. Could
possibly use
EXEMPLARS if
some students
have worked ahead
- Board review of
what’s permitted in
critique discussions
- Handout with
possible questions
to generate
critique discussion
- Teacher led
demonstration, then
reviewing the rubric
for
expectations/require
ments of students
- Setting the
standards at
beginning of class
with class review of
what’s appropriate
WRITE ON BOARD
what is acceptable
TC INTRO &
PRIMARY
COLOUR
PORTRAITS
EXERCISE
Thurs. Feb 26
UNIT INTRO
AND
PRIMARY
COLOUR
WRAP
Mon. March 2
CHARCOAL GESTURAL SKETCHES
(SELFIES)
Wed March 4
BLIND CONTOUR & HOCKNEY’S
JOINERS
Fri. March 6
WORK DAY &
ASSEMBLAGE
DEMONSTRA
TION
Tues. March
24
WORK DAY
Thurs. March
26
Fragmented
Portraiture
Critique
- Cubism: Works portray the
subject from multiple
perspectives, after a series
of dissecting and analyzing
- Assemblage: Consists of
making three-dimensional or
two-dimensional artistic
compositions by putting
together found images and
objects
- Critique: A detailed
analysis and assessment of a
body of work. In our
classroom, opportunity to
provide constructive
feedback and opportunities
- Formative: Pair share
and group critiques
providing constructive
feedback
- Summative: Assessment
of learning through final
assignments being
6
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
display
- Student assignment
with what struck you,
what you would have
done differently,
what feature stood
out the most, what
artist were they
inspired by
- Pair share, then
come together in
groups of 4
- Handout: Review of
critique process –
how did it go?
- 4 Guiding
Questions for each
artist
to improve work
and what’s not in
terms of discussing
eachother’s work
submitted
FRAGMENTED PORTRAITURE: PAINTING & DRAWING 11-12
Key Concepts:
 1 What does it mean to “see” someone and how do we process those images?
 2 How can we incorporate aspects of Cubism into our own work to strengthen our practice?
 3 How do we deconstruct images and reassemble them to capture what our eyes see?
 4 How can we build our knowledge base using past examples of professional artists?
 5 How do I talk about my work?
Drawing & Techniques we will explore:
 1 Primary Colour Portrait
 2 Gestural Sketches
 3 Blind Contour
 4 Assemblage (Final Piece)
Writing Artist Statements:
Developing your own voice is essential to the
artistic process. During this unit we will explore
how to write artist statements and speak to the
concepts and mediums used in your work.
Artists to Explore:
Picasso
David Hockney
Egon Shiele
Benjamin Garcia
7
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
What are your assignments?
2
2
1
2
Assignments
Drawing Exercises
1. What is Cubism? Why do I care? 1. Primary Colour Portrait
2. Intriguing Artist Assignment
2. Blind Contour
3. Gestural Sketches
Final Assignment
1. Fragmented Portrait
11”x18”
Wrap Up Assignments
1. Artist Statement
2. Critique Handout
/2 points
/20 points
/5 points
/3 points
[STUDENT HANDOUT – STATEMENT DUE ON FINAL DAY OF UNIT]
HOW DO I TALK ABOUT MY WORK?
ARTIST STATEMENT
One of the biggest challenges we face as artists is talking about our own work. Here’s a checklist for you
to look over as you produce your own statement about the work you have just created. You’ve worked
hard on developing this art piece and this is a great opportunity to take pride in what you’ve
accomplished and speak to the process with your classmates.
INTRODUCTION:
[ ] An introductory paragraph about your work that makes the reader want to find out more
about your process and final art piece.
BODY:
[
[
[
[
] Title of the piece your created?
] Technique – Which techniques did you use to generate this image?
] Materials – What materials did you use to make these?
] Explanation of why you chose these fragments and pieces for your final composition.
DESCRIPTION:
[ ] Contains information about your ideas going into this process. Why is this piece significant to
you?
[ ] Inspiration of where you got your inspiration or ideas from in creating your images (can
include art movements or artists we looked at in class)
ANALYSIS:
[ ] Use of appropriate and correct terminology pertaining to the works you’ve chosen
[ ] Explanation of the elements and principles of art that apply to your work
Elements: __ Line, __ Shape, __Form, __Value, __Space, __Colour, ___Texture
Principles: __Composition, __Movement, __Harmony/Unity, __Pattern, __Variety
CONCLUSION:
[ ] A solid wrap up paragraph that neatly brings the ideas you’ve discussed above into a
conclusion (summarizing paragraph)
8
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
Student Name:_____________
Day # and Block #:___________
RUBRIC: FRAGMENTED
PORTRAITURE
TOTAL:
___/ 30
ASSIGNMENTS:
What is Cubism? Why do I care? COMPLETED: Y/N (1 pt)
Intriguing Artist COMPLETED: Y/N (1 pt)
Total = ___/2 pts
DRAWING EXERCISES:
Primary Colour Portraits x3 COMPLETED: Y/N (1 pt)
Gestural Sketches COMPLETED: Y/N (1 pt)
Blind Contours COMPLETED: Y/N (1 pt)
Total = ___/3 pts
ANALYSIS:
Artist Statement COMPLETED: Y/N (4 pts)
Critique Handout COMPLETED: Y/N (1 pt)
Total = ___/5 pts
FRAGMENTED
PORTAITS
___/4
___/3
___/2
___/1
DEMONSTRATION
& INCLUSION OF
DRAWING
TECHNIQUES X3
(Primary Colour
Chalk Pastel,
Pencil Contour,
Charcoal
Gestural)
All 3 Drawing
Techniques
demonstrated and
effectively used in
portrait to maximum
effect.
All three Drawing
Techniques included but
effective demonstration
of techniques still
developing.
At least two drawing
techniques included and
applied well to overall
portrait.
Only 1 drawing technique
included in portrait.
Clear demonstration
and application of Line,
Shape, Form and Tone
in final piece.
Demonstration and
attempted application of at
least 3 of the following
(Line, Shape, Form and
Tone)
Shows an attempt to use
Composition,
Harmony/Unity and
Variety.
Demonstration of at least 2
of the following (Line, Shape,
Form and Tone)
Work goes beyond the
Work lacks demonstration of
PRINCIPLES OF
ART
Consistently
demonstrates use of
Composition,
Harmony/Unity and
Variety.
Clear demonstration and
strong application of at
least 3 of the following
(Line, Shape, Form and
Tone)
Demonstrates use of at
least two of the
following: Composition,
Harmony/Unity and
Variety.
CREATIVITY &
Portrait demonstrates
Portrait explores a
ELEMENTS OF
ART
Shows little attempt to use
Composition,
Harmony/Unity and Variety.
9
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
originality and
demonstrates risk
taking with medium
and assemblage.
RISK TAKING
variety of creative
options and takes some
risks with medium and
assemblage.
familiar to take small risks.
Assemblage does not
demonstrate exploration
with assemblage.
risk taking and originality in
assemblage.
(1) LESSON PLAN: TC Meet & Greet, Primary Colour Portraits
Lesson #_1_ Out of _7_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Tues. Feb 24, 2015
LESSON PLAN COMPONENTS:







Lesson Objectives
o Students will be introduced to new TC Mr. Smith & Review of Expectations
o Students will fill out entrance slips to allow for Mr. Smith to gauge comfort with the medium, what
could help benefit their learning and what could be added to projects
o Students will be introduced to Chuck Close for images of the day and his large scale portraits
o Students will experiment with primary colours in a portraiture drawing exercise and look at layering
through blues (dark tone), reds (mid tones) and yellows (highlights)
BC PLO’s/IRP’s
o Perceiving / Responding: Students perceive and respond to images in ways that demonstrate
awareness of the sources, techniques, and strategies of image development and design
o Creating / Communicating: It is expected that students will manipulate visual elements and principles
of art and design within a specific visual expression area to achieve a specific purpose
Guiding Questions:
o When using just three colours, what do we look for when we try to draw someone?
o How do the primary colours and tones work to create value and layers?
o What happens when we start by seeing the highlights of a face before the shadows?
Prior Knowledge
o Students will have drawn their own self portraits in a previous drawing unit (demonstrated/witnessed
during short practicum)
Materials & Visual References
o Slides/Images on Mr. Smith for intro
o Slides/Images of the day: Chuck Close large scale portraits
o Pastels for 30 students (specifically blue, yellow & red!)
o Colour pencils, markers if not enough pastels
o No sketchbooks. Provide paper for students to draw on x 30
Teacher Sample if applicable
o Primary colour portrait samples
Key Vocabulary
o Tone: Refers to the lightness or darkness (highlights & shadows) and how they can be applied to
building a portrait. Can be used to define form and create spatial illusions.
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
10
o




Shape: Building objects/forms through 3-dimensionality (relevant through building out the face
through colour fields).
Lesson Hook/Intro
o Images of the day: Chuck Close, Large Scale Primary Colour Paintings
Activities with **Approximate Timings for 75 minute classes**
o [15 mins] Attendance & Check in
 Introduction of Mr. Smith as new student teacher & setting expectations
 Images from past art work, experience
o [5 mins] Entrance Slips: students will be asked what mediums they would like to work more with, how
comfortable they are with drawing portraiture and what Mr. Smith can do to support their learning
o [15 mins] Introduction & Demo to primary colour portraits technique. Ask students if they had just
three colours, how would they try to capture someone’s portrait on paper?
o [35 mins] Student work time using primary colour portraits
 Drawings to be completed in pairs. Rotate to next partner.

Drawing 1: Blue, to red, to yellow. Looking at recognizing shadows first. Then the midtones,
then higlights.
 Drawing 2: Yellow, to red, to blue. Reverse strategy, looking at highlights first. Then the
midtones, then shadows with blue.
o [5mins] Clean Up and expectations for following class. Discuss next unit.
Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
Assessments: Summative and/or Formative
o Formative: Entrance slips will allow me to gauge where students are at with drawing experience,
what they would like to do in class and what I can do for them while I’m their ST
o Primary colour drawing exercise can allow me to gauge some of their drawing skills & levels of
comfort with the mediums
Mr. Smith Samples
Exercise 1: Shadows (Blues), to Mid-tones (Reds) to
Highlights (Yellows)
Exercise 2: Highlights (Yellows), to Mid-tones (Reds)
to Shadows (Blues)
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
11
(2) LESSON PLAN: Primary Colour Portrait
Lesson #_2_ Out of _7_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Thurs, Feb 26, 2015
LESSON PLAN COMPONENTS:

Lesson Objectives
o Introduce students to Chuck Close, providing context for primary colour portraits and relating to an accomplished
/ successful practicing artist
o Students will be able to walk way with ability to recognize facial tones, values and shadows rather than looking
for outlines and specific details

BC PLO’s/IRP’s
o Perceiving / Responding (Context): Students perceive and respond to images and the ways these images reflect
and affect personal, social, cultural and historical contexts.
o Creating / Communicating: Apply appropriate materials, technologies, and processes to achieve intent in 2-D and
3-D image-making
o Creating / Communicating: Demonstrate competent use of techniques specific to selected materials,
technologies, and processes (specifically chalk pastels)

Guiding Questions:
o What is the purpose of a primary colour portrait and how can it be used to strengthen my ability to draw what I’m
seeing?
o How can we use Close’s methods of seeing to strengthen our drawing/artistic practice?

Prior Knowledge
o Experience with proportions and drawing someone’s face on paper (This was evident during an introductory
portraiture unit I saw on short practicum)
o Day 1 saw students work in pair share drawing activity, introduced to the concept of primary colour portraits

Materials & Visual References
o
Images: Chuck Close’s images and self portrait. Additional images of broken down into black and white as well as
colour fields. (One student said although there were not details in one of his large scale portraits, it was easier to
see the woman’s portrait!)
o Chalk Pastels (Colour) – Ensure enough for primary colours x 30 students
o Nicer drawing paper, heavier weight and ability to hold chalk pastel
o Spray fix

Key Vocabulary
o Photomontage: A composition consisting of portions of various existing images from p
o Cubism: Works portray the subject from multiple perspectives, after a series of dissecting and analyzing
o Assemblage: Consists of making three-dimensional or two-dimensional artistic compositions by putting together
found images and objects

Lesson Hook/Intro
o Images of the day, introducing primary colour portraits and chalk pastels
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE

12
Activities with **Approximate Timings for 75 minute classes**
o [5 mins] Attendance & Check in
o [15 mins] Images of the Day, unit introduction of Fragmented Portraits & Hockney discussion
o [45 mins] Drawing activity wrap up, primary colour exercises. This time completing a self-portrait using primary
colours. Emphasis on blocking in sections of the face, allowing for free range of movement. Not too restrictive.
**Challenge is to build a colour portrait of a face using just three colours.
o [10 mins] Clean up and review of sketchbook assignments. Assign Cubism HW for students to complete
sketchbook assignment

Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
Assessments: Summative and/or Formative
o /5: Demonstration of technique, x3 Self Portraits produced?
o [Y/N]: Clean up respectful handling of materials?
MR SMITH SAMPLES:
Primary Colour Portraits
Sketch Details – Pencil
Charcoal Gestural Details
Contour Drawings
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
Assemblage
Assemblage
13
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
14
Fragmented Portrait – Smith Sample
(3) LESSON PLAN: Charcoal Gestures
Lesson #_3_ Out of _7_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Monday, March 2, 2015
LESSON PLAN COMPONENTS:

Lesson Objectives
o Introduce students to new unit and the concept of ‘seeing’ through David Hockney’s Joiners and the
way our gaze ‘dances’ when looking at someone
o Objective to have students begin to understand what is required of them so they can create their own
Fragmented Portraits using Hockney and Cubism techniques (deconstructing, then rebuilding an
image)
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE

15
BC PLO’s/IRP’s
o Perceiving / Responding (Context): Compare the use of materials, technologies and processes in a
range of 2-D and 3-D images
o Creating / Communicating: Apply appropriate materials, technologies, and processes to achieve
intent in 2-D and 3-D image-making
 Guiding Questions:
o What is cubism and how can we apply aspects of it to our own work?
o How can we use Hockney’s methods of seeing to strengthen our drawing/artistic practice?
o How can we strengthen our artistic practice through combining other mediums, in this case from
photography?
 Prior Knowledge
o Experience with proportions and drawing someone’s face on paper (This was evident during an
introductory portraiture unit I saw on short practicum)
 Materials & Visual References
o Images: David Hockney’s Joiners, Hermetic Cubism, 1 image from Benjamin Garcia
o Charcoal Pencils
o Newsprint Paper Ensure enough for primary colours x 30 students
 Key Vocabulary
o Photomontage: A composition consisting of portions of various existing images from photos
o Cubism: (in this context) Works portray the subject from multiple perspectives, after a series of
dissecting and analyzing. Student-friendly definition, we break it apart into smaller pieces to
analyze/see them closely before reassembling in a new composition.
o Assemblage: Consists of making three-dimensional or two-dimensional artistic compositions by
putting together found images and objects
 Lesson Hook/Intro
o Images of the day, introducing primary colour portraits and chalk pastels
 Activities with **Approximate Timings for 75 minute class**
o [5 mins] Attendance & Check in
o [10 mins] Images of the Day, Unit introduction of Fragmented Portraits & Hockney discussion
 Ensure students know they should be keeping their work from all stages as they will form the
pieces of their Fragmented Portraits
o [25 mins] Charcoal Gestural Drawings
 Emphasis on staying loose, room will be set up in a rotation where students will be actively
engaging with the space. Rotating every 1-2 mins
 3-4 lines in a fast motion, how are we looking at our model and then back and forth with our
paper that we’re drawing on?
 Looking at coming away with eyes, nose, mouth, ear (see sample)
 Objective to look at each piece individually, not necessarily the face as a whole trying to
match proportions
o [20 mins] Charcoal Detail Drawings:
 Emphasis on slowing down, taking some more time to draw what we see in stages. Break
down the eye with eye lid, lower lid, lashes, pupil, outline
o [10 mins] Clean up and review of sketchbook assignments. Assign Cubism HW for students to
complete sketchbook assignment
 Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
o Closure: Detailing how these exercises and practices can be used to assemble our own fragmented
portraits. What stage we are in, how to progress going forward
Assessments: Summative and/or Formative
o [Y/N]: Clean up respectful handling of materials?
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
16
(4) LESSON PLAN: Image Response & Blind Contour
Lesson #_4_ Out of _7_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Wednesday, March 4, 2015
LESSON PLAN COMPONENTS:








Lesson Objectives
o To provide students an opportunity to respond to a visual, dissecting an image and strengthening
ability to interpret an image [Feldman approach: Describe, Analyze, Interpret & Decide]
o Building on previous lessons around drawing what we see with gesture and primary colour portraits,
how can we train our eyes to “see” using blind contour exercises?
o Introduce students to a successful blind contour specialist, Egon Shiele
BC PLO’s/IRP’s
o Perceiving / Responding (Context): Compare the use of materials, technologies and processes in a
range of 2-D and 3-D images
o Perceiving / Responding: Critique the effectiveness of image-development strategies used in
particular 2-D and 3-D images
Guiding Questions:
o How do we talk about and respond to art?
o What is blind contour and how can we use this method of drawing to strengthen our practice?
o How does blind contour work with the concepts of cubism where we’re breaking down images
through fragmenting/compartmentalizing features to then reassemble them in a final composition?
Prior Knowledge
o Experience with primary colour portraits (to recognize tone, values)
o Experience with gestural drawings & concepts of cubism (looking at shadows and breaking down
compositions into fragments)
Materials & Visual References
o Images: Egon Shiele (Sarena Lederer Portrait)
o Graphite pencils & Sharpener x30 students
o Print Paper - Ensure enough for x 30 students
o Lined paper x 30 students, for written response to Shiele image
o Questions on board  Describe, Analyze, Interpret, Decide (see activities)
Key Vocabulary
o Contour: An outline, one representing the form or shape of an object/person
Lesson Hook/Intro
o New exercise, what do we see and interpret from Egon Shiele’s portrait?
Activities with **Approximate Timings for 75 minute class**
o [5 mins] Attendance & Check in
o [15 mins] Image of the Day, Feldman approach & class discussion. Students to turn this in at end of
class. Begin with introduction of what we’re doing, how we are interpreting the work. Provide
students with info on what we’re looking for when we Describe, Analyze, Interpret & Decide
 Describe: This means, simply describe exactly what you see: shapes, colors, objects and their
location in the artwork. Students should not be making assumptions about the artwork in this
stage, which they sometimes need to be reminded about.
 Analyze: This means to explain the different principles of design that the artist has used, such
as balance, repetition, contrast, etc. [review some possible terms to include with students]
 Interpret: The third step is for students to interpret the artwork. Ask students to put
themselves in the artist's shoes and explain what they might have been thinking when they
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
17
created the artwork. Why did they make certain decisions? What in the artwork leads you to
believe that?
 Decide: The last step is to decide whether or not you think it is a successful piece of artwork.
This is a personal decision, however. Ask students to back up their decision with a specific
reason, beyond "I like it" or "I don't like it".
 Regroup for class discussion. What are some of the details we have identified?
o [35 mins] Blind Contour Drawing
 Each student to take two sheets of paper. First is to be taped down to the table. Next is to be
taped at the top.
 Demo showing how contour works using our hands, then following up our arms.
 Explanation comes after students have tried it out. How does blind contour strengthen our
practice?
 Allowing us to slow down, draw what we see in detail
 If our eye skips part of the contour, our hand/pencil has to jump and skip the section
as well
 Emphasis on students looking in detail for portions of time. The resulting image is
not meant to be a spitting image/reflection of what they are drawing
 Practice first drawing our hand, then following up our arm
 Partner pair drawing activity
o [15 mins] Option to finish gestural sketches from previous class, or to finish fixing [spraying] outside.
Chalk pastel primary colour portraits & charcoal pieces should be fixed by the end of class & stored in
the cupboards.
 Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
o Closure: Detailing how these exercises and practices can be used to assemble our own fragmented
portraits. What stage we are in, how to progress going forward? You now have three classes left
where we can work on assembling our own fragmented portraits.
Assessments: Summative and/or Formative
o Formative: Informal check in with students regarding what stage they are in. What drawing techniques
have they used and which would they push further for their fragmented portraits?
o [Y/N]: Clean up respectful handling of materials?
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
18
(5) LESSON PLAN: Image Response & Blind Contour
Lesson #_5_ Out of _8_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Friday, March 5, 2015
LESSON PLAN COMPONENTS:

Lesson Objectives
o Provide students with additional working time on contour (blind this class) and to engage in a fun,
light activity before departing for Spring Break
 BC PLO’s/IRP’s
o Perceiving / Responding (Context): Compare the use of materials, technologies and processes in a
range of 2-D and 3-D images
 Guiding Questions:
o What is blind contour and how can we use this method of drawing to strengthen our practice?
o How does blind contour work with the concepts of cubism where we’re breaking down images
through fragmenting/compartmentalizing features to then reassemble them in a final composition?
 Prior Knowledge
o Experience with contour in previous class, building on the drawing with blind contour
 Materials & Visual References
o Blind Contour with shading/colour portraits x3
 Key Vocabulary
o Contour: An outline, one representing the form or shape of an object/person
 Activities with **Approximate Timings for 75 minute class**
o [5 mins] Attendance & Check in
o [15 mins] Review of contour and what it means to do blind contour.
 Allowing us to slow down, draw what we see in detail
 If our eye skips part of the contour, our hand/pencil has to jump and skip the section
as well
 Emphasis on students looking in detail for portions of time. The resulting image is
not meant to be a spitting image/reflection of what they are drawing
 Practice first drawing our hand, then following up our arm
 Partner pair drawing activity
o [55 mins] Options to complete contour drawings with colour and shading. Or to work on other
drawings not yet completed (this includes fixing our prints that still need to be fixed outdoors)
 Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
o Closure: Detailing how these exercises and practices can be used to assemble our own fragmented
portraits. What stage we are in, how to progress going forward? You now have three classes left
where we can work on assembling our own fragmented portraits.
Assessments: Summative and/or Formative
o Formative: Informal check in with students regarding what stage they are in. What drawing techniques
have they used and which would they push further for their fragmented portraits?
o [Y/N]: Clean up respectful handling of materials?
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
19
(6) LESSON PLAN: Assemblage Demo & Assessment Expectations
Lesson #_6_ Out of _8_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Tuesday, March 24, 2015
LESSON PLAN COMPONENTS:








Lesson Objectives
o To regrpoup after 2-week Spring Break, review expectations for final project and ensure students walk
away with understanding of expectations
o Provide demo on finishing assignment with gel medium and assemblage
BC PLO’s/IRP’s
o Perceiving / Responding (Context): Analyze the use of image-development strategies of artists in a
specific visual expression area
o Perceiving / Responding: Examine the relationship between the use of particular image-development
strategies and intended mood and message
Guiding Questions:
o What is a self portrait and how can you use the drawing techniques that we have used to assemble
our own portraits?
o How do we see ourselves in fragments? What are the pieces of yourselves that you would focus in on?
Prior Knowledge
o Students have had drawing time with their own portraits as well as working in pairs
o Students have experimented with primary colour portraits, gestural drawings, contour and blind
contour
Materials & Visual References
o HANDOUT: Rubric and review of expectations
o Teacher samples: Fragments, pieces of the face to assemble in demo
o Heavy weighted paper (11 x 17?) to apply gel medium and assemblages
o Charcoal pencils, lead pencils, ink, chalk pastels
o Powerpoint visuals for summary of previous artists
o Powerpoint visual of Benjamin Garcia: What do we see??
Key Vocabulary
o Self Portrait: Representation of an artist, drawn, painted, photographed or sculpted by the artist
o Assemblage: Consists of making 3D or 2D artistic compositions by putting together found images and
objects
Activities with **Approximate Timings for 75 minute class**
o [5 mins] Attendance & Check in
o [5 mins] Review of Self Assessment questions and how to submit projects at beginning of next class.
 Go over handout of questions & self assessment criteria
o [10 mins] DEMO of assemblage, collage to work with final portraits
 Will have multiple fragments. What is the area/detail that you have focused in on?
 Begin building like a collage/assemblage.
 Map it out first, then use the first piece and build areas around
 What pieces do we have to include?
 What are the 3 techniques and how can we include them?
Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
20
o Closure: How are we going to assess our work?
Assessments: Summative and/or Formative
o Formative: Informal check in with students regarding what stage they are in. What drawing techniques
have they used and which would they push further for their fragmented portraits?
o [Y/N]: Clean up respectful handling of materials?
(7) LESSON PLAN: Final Work Day
Lesson #_7_ Out of _8_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Thursday, March 26, 2015
LESSON PLAN COMPONENTS:

Lesson Objectives
o Provide students with additional work time and opportunity to complete self assessments
 BC PLO’s/IRP’s
o Creating/Communicating: It is expected that students will apply design strategies to solve a design
problem
o Creating/Communicating: It is expected that students will create images within a specific visual
expression area that reflect personal contexts and for specific purposes
 Guiding Questions:
o What is a self-portrait and how can you use the drawing techniques that we have used to assemble
our own portraits?
o Are we able to assess our own work? How do we evaluate what we’ve completed?
 Prior Knowledge
o Students have experimented with primary colour portraits, gestural drawings, contour and blind
contour
 Materials & Visual References
o SELF ASSESSMENT handouts
o Gel medium & palette knives
o Charcoal pencils, pencils, chalk pastels
 Key Vocabulary
o Self Portrait: Representation of an artist, drawn, painted, photographed or sculpted by the artist
o Assemblage: Consists of making 3D or 2D artistic compositions by putting together found images and
objects
 Activities with **Approximate Timings for 75 minute class**
o [5 mins] Attendance & Check in
o [5 mins] Review of Self Assessment questions and how to submit projects at beginning of next class.
 Go over handout of questions & self assessment criteria
o [50 mins] Work time for students to complete assemblages & Mr. Smith check-ins
o [5 mins] Clean up around classroom.
 Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
o Closure: Where are we at in progression? Gauge pulse of the room, see if it’s necessary to add another
work day in the schedule.
Assessments: Summative and/or Formative
o Formative: Informal check in with students regarding what stage they are in. What drawing techniques
have they used and which would they push further for their fragmented portraits?
o [Y/N]: Clean up respectful handling of materials?
21
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
FULL NAME:________________
Day # and Block #:_____________
RUBRIC: FRAGMENTED
PORTRAITURE
TOTAL:
___/ 25
DRAWING EXERCISES:
Primary Colour Portraits COMPLETED: Y/N (1 pt)
Gestural Sketches COMPLETED: Y/N (1 pt)
Blind Contours COMPLETED: Y/N (1 pt)
Total = ___/3 pts
ANALYSIS:
Artist Statement/Assessment COMPLETED: Y/N (2 pts)
Total = ___/2 pts
FRAGMENTED
PORTAITS
___/4
___/3
___/2
___/1
DEMONSTRATION
& INCLUSION OF
DRAWING
TECHNIQUES X3
(Primary Colour
Chalk Pastel,
Pencil Contour,
Charcoal
Gestural)
All 3 Drawing
Techniques
demonstrated and
effectively used in
portrait to maximum
effect.
All three Drawing
Techniques included but
effective demonstration
of techniques still
developing.
At least two drawing
techniques included and
applied well to overall
portrait.
Only 1 drawing technique
included in portrait.
Clear demonstration
and application of Line,
Shape, Form and Tone
in final piece.
Demonstration and
attempted application of at
least 3 of the following
(Line, Shape, Form and
Tone)
Shows an attempt to use
Composition,
Harmony/Unity and
Variety.
Demonstration of at least 2
of the following (Line, Shape,
Form and Tone)
Work goes beyond the
familiar to take small risks.
Assemblage does not
demonstrate exploration
with assemblage.
Work lacks demonstration of
risk taking and originality in
assemblage.
PRINCIPLES OF
ART & DESIGN
Consistently
demonstrates use of
Composition,
Harmony/Unity and
Variety.
Clear demonstration and
strong application of at
least 3 of the following
(Line, Shape, Form and
Tone)
Demonstrates use of at
least two of the
following: Composition,
Harmony/Unity and
Variety.
CREATIVITY &
RISK TAKING
Portrait demonstrates
originality and
demonstrates risk
taking with medium
and assemblage.
Portrait explores a
variety of creative
options and takes some
risks with medium and
assemblage.
ELEMENTS OF
ART
Shows little attempt to use
Composition,
Harmony/Unity and Variety.
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
FRAGMENTED PORTAITURE – SELF ASSESSMENT
STUDENT NAME:____________________ BLOCK NUMBER:______________________
TITLE OF YOUR WORK:________________
1. What are the first three words that come to mind when you look at your portrait?
2. What drawing technique do you enjoy working with most and why?
3. Where did you get your inspiration or ideas from in creating your artwork? (Can reference artists
looked at, art movements discussed in class, emotions while completing assignment or other)
4. What part of your portrait stands out the most to you? Why did you choose to focus on this part of
your portrait?
5. If you could resubmit this assignment, what would you do differently?
DRAWING EXERCISES:
Primary Colour Portraits COMPLETED: Y/N (1 pt)
Gestural Sketches COMPLETED: Y/N (1 pt)
Blind Contours COMPLETED: Y/N (1 pt)
Total = ___/3 pts
ANALYSIS:
Artist Statement COMPLETED: Y/N (2 pts)
Total = ___/2 pts
FRAGMENTED PORTRAITS – FINAL PROJECTS
DEMONSTRATION & INCLUSION OF DRAWING
TECHNIQUES X3 (Primary Colour, Pencil Contour,
Charcoal Gestural)
4|3|2|1
ELEMENTS OF ART (Clear demonstration and application
of Line, Shape, Form and Tone in final piece.)
4|3|2|1
PRINCIPLES OF ART & DESIGN (Consistently
demonstrates use of Composition, Harmony/Unity and
4|3|2|1
22
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE
23
Variety.)
CREATIVITY & RISK TAKING (Portrait demonstrates
originality and demonstrates risk taking with medium
and assemblage.)
4|3|2|1
(7) LESSON PLAN: Final Work Day
Lesson #_7_ Out of _8_ for Unit: FRAGMENTED PORTRAITURE
Course/Class Title: Drawing & Painting 11-12
Instructor: Student Teacher Andrew Smith, SA Tristesse Seeliger (Eric Hamber)
Lesson Start/End Dates (2015): Monday, March 30, 2015
LESSON PLAN COMPONENTS:







Lesson Objectives
o Provide students with additional work time to finish Fragmented Portraits and opportunity to
complete self assessments
BC PLO’s/IRP’s
o Creating/Communicating: It is expected that students will apply design strategies to solve a design
problem
o Creating/Communicating: It is expected that students will create images within a specific visual
expression area that reflect personal contexts and for specific purposes
Guiding Questions:
o What is a self-portrait and how can you use the drawing techniques that we have used to assemble
our own portraits?
o Are we able to assess our own work? How do we evaluate what we’ve completed?
Prior Knowledge
o Students have experimented with primary colour portraits, gestural drawings, contour and blind
contour
o Students will have worked 2 full classes on final works, this will be the third and final class to submit
assignments.
Materials & Visual References
o SELF ASSESSMENT handouts
o Gel medium & palette knives
o Charcoal pencils, pencils, chalk pastels
o Scissors. So many scissors.
o Paper slips for formative assessment. (Already cut in photo studio)
o Book on hand “Talk about street art” by Jerome Catz
Key Vocabulary
o Self Portrait: Representation of an artist, drawn, painted, photographed or sculpted by the artist
o Assemblage: Consists of making 3D or 2D artistic compositions by putting together found images and
objects
o Self Assessment: Assessment or evaluation of oneself or one's actions, in particular, of one's
performance at a task or learning task considered in relation to an objective standard.
Activities with **Approximate Timings for 75 minute class**
o [5 mins] Attendance & Check in
o [5 mins] Review of Self Assessment questions and how to submit projects to Mr. Smith
 Go over handout of questions & self assessment criteria
 **Ensure students are including evidence of primary colour portaits, gestural
drawings & line contours (could use exemplars)
o [50 mins] Work time for students to complete assemblages & Mr. Smith check-ins (see modifications)
o [5 mins] Clean up around classroom.
ANDREW SMITH - UNIT PLAN – FRAGMENTED PORTRAITURE

24
Closure & Clean-up Structure
o Door closed until areas are clean: Each table, sinks, materials returned
o Closure – Formative Assessment:
 Did you enjoy this unit and the way it was structured?
 What did you think of the artists we looked at in class? Too many, not enough?
 What drawing activities/additions would you like more of if you were to do this unit again?
 Were you pleased with the art work you produced? Would you hang it on your wall at home?
Modifications for those who have finished:
o Public Art. Can you find an example of a public/street artist that is interesting and one that we could
include in class? Provide the following:
 Name
 Nationality
 Places their work can be found
 What mediums do they work in?
 What makes this artist’s work or ideas interesting?
 BONUS: Can you find an example of a local BC artist that works with street or public art?