Drawing Exercises 1-3
Student Learning Objectives:
Students will investigate the terms and processes of contour drawing.
Students will create practice drawings of a series of drawing techniques.
Students will evaluate their drawings based off certain criteria.
Students will create an original graphite or charcoal still life composition.
Media:
Computer practice paper; Sharpie Fine Point Markers or ink pen; desire to do the exercises CORRECTLY so you do not cheat yourself out of a stronger brain.
Vocabulary:
(Select the words you are not familiar with and find their definitions in the dictionary. Write these meanings down in your sketchbook) analytical; zone out; intuitive; nonverbal; serially; left-brained; right-brained; perceptual; L-mode; R-mode; paradoxically
Purpose:
To provide you with exercises to strengthen your right side of your brain so you can draw what you see and not what you think you see. Right-brained people are supposed to be artistic and spontaneous, while left-brainers are literal and analytical.
General:
"You have two cerebral halves: a left and a right. Modern brain scientists now know that your left brain is your verbal and rational brain; it thinks serially and reduces its thoughts to numbers, letters and words… Your right brain is your nonverbal and intuitive brain; it thinks in patterns, or pictures, composed of ‘whole things,’ and does not comprehend reductions, either numbers, letters, or words."
Betty Edwards, author of Drawing from the Right Side of the Brain, has used the terms L-Mode and R-Mode to designate two ways of knowing and seeing - the verbal, analytic mode and the visual, perceptual mode - no matter where they are located in the individual brain. You are probably aware of these different characteristics. L-mode is a step-by-step style of thinking, using words, numbers and other symbols. L-mode strings things out in sequences, like words in a sentence. R-mode on the other hand, uses visual information and processes, not step-by-step, but all at once, like recognizing the face of a friend.
Most activities require both modes, each contributing its special functions, but a few activities require mainly one mode, without interference from the other. Drawing is one of these activities.
Learning to draw, then, turns out not to be "learning to draw." Paradoxically, "learning to draw" means learning to make a mental shift from L-mode to R-mode. That is what a person trained in drawing does, and that is what you can learn.
Since Betty Edwards first published her book in 1979, it has been on the New York Times best seller list with more than 2.5 million copies sold. It has been translated into 13 languages and is the world's most widely used drawing instruction book.
Whether you feel you have little talent and doubt you could ever learn; or you enjoy drawing but have not been able to get beyond a child-like level, these exercises will show you how to gain and master drawing skills. If you are already drawing as a professional artist it will give you a greater confidence in your ability and deepen your artistic perception.
Once learned, drawing can be used to record what you see either in reality or in your mind's eye, in a manner not totally unlike the way we can record our thoughts and ideas in words. Many 20th century abstract painters who appear to draw and paint in a completely random fashion, had to learn to draw realistically before they were able to make the shift into abstract painting. Picasso, Willem de Kooning, Matisse, Mondrian and Jackson Pollock are a few examples of great abstract painters who first learned to draw realistically.
For most students, one of the frequent effects is a new self-perception as a creative and artistic person who can actually draw what they see. You will be learning 6 exercises to help put the left side to sleep and exercise the right side. In all of these exercises you can not talk. Talking turns on the left side and that is what we are trying not to do. You can not even think in words.
Exercise / Practice:
1 - BREAKING UP SPACE:
➢ Only draw vertical and horizontal lines
➢ Do not pick up your pencil until time is called
➢ Do not think in terms of words
➢ Relax
➢ Draw at a slow to medium pace
➢ If you run out of space just retrace the lines you have already drawn
➢ Do not stop until time is called.
2 - HAND / EYE COORDINATION:
➢ Draw your non-drawing hand.
➢ Your eye and hand need to move in the same direction, at the same time.
➢ Keep your eyes on the object (your hand).
➢ Do not look at your paper. This is called "blind contour drawing"
➢ Do not speak
➢ Do not try to figure out what object you are drawing until the exercise is over. Just focus on the edges of the object.
3 - VASE/FACE DRAWING:
This is a quick exercise designed to illustrate the mental conflict that can occur between L-mode and R-mode. This is a famous optical illusion drawing, called "Vase/Faces" because it can be seen as either two facing profiles or as a symmetrical vase in the center. Your job, of course, is to complete the second profile, which will inadvertently complete the symmetrical vase in the center.
➢ Redraw the profile already printed. Just take your pencil and go over the lines, naming the parts as you go, like this: “Forehead... nose... upper lip... lower lip... chin and neck."
➢ Go to the other side and start to draw the missing profile that will complete the symmetrical vase
Did you experience some conflict during the drawing?
This Vase/Faces exercise helps each person to experience, in their own minds, the mental "crunch" that can occur in drawing. Let me tell you why this mental conflict happens. First, I asked you to name each feature, thus strongly "plugging in" the verbal system of the brain. Then I asked you to simultaneously complete the second profile and the vase. This can only be done by shifting to the visual, spatial mode of the brain. The difficulty of making that mental shift causes a feeling of conflict and confusion - and perhaps even a momentary mental paralysis. Didn't you feel it? The solution to the conflict, of course, is to draw just what you see without naming the parts.
➢ Do this same exercise again, but this time do NOT label any part of the face
➢ Do not think in any words
➢ Also break the area into smaller sections (keep in mind “You can eat an elephant one bite at a time”) as shown by the teacher
➢ Do a vase/witch
➢ Do a vase/monster
4 - SEATED STUDENT: Tracings do not get a grade!!! You only work for one half of a period and shown. Turn the original UPSIDE DOWN and do not think in terms of labels.
5 - PICASSO'S MODEL: Tracings do not get a grade!!! You only work for one half of a period and shown. Turn the original UPSIDE DOWN and do not think in terms of labels.
6 - STANDING WOMAN: Tracings do not get a grade!!! You only work for one half of a period and shown. Turn the original UPSIDE DOWN and do not think in terms of labels.
Daily Goals
1st Day- Finish BREAKING UP SPACE, EYE AND HAND CO-ORDINATION.
2nd Day - Finish VASE/FACE DRAWING, SEATED STUDENT.
3rd Day - Finish PICASSO'S MODEL, STANDING WOMAN.
5th Day - Finalize the FINAL by the end of class – Bring all exercises (make sure they are in order or they will not be graded until they are) and final drawing up to the computer with your assessment and watch your grades being recorded. Work on extra credit (see me about browsing the programs we have in the computer)
Assessment
Formative Assessment Rubric
4 - Excellent. All drawings are complete high effort and excellent quality.
3 - Proficient / Good. All drawings are adequately complete.
2 - Novice / Basic. 9-11 drawings are complete minimal effort and quality.
1 - Developing. 8 or less drawings partially complete with minimal effort or quality.
Materials:
Drawing on the Right Side of the Brain - Drawing on the Right Side of the Brain is the world's most widely used drawing instruction book. Whether you are drawing as a professional artist, as an artist in training, or as a hobby, this book will give you greater confidence in your ability and deepen your artistic perception, as well as foster a new appreciation of the world around you.
Drawing on the Right Side of the Brain Workbook - A fully revised and updated edition of the essential companion to Drawing on the Right Side of the Brain--over half of the exercises are new!
- See more at: http://www.incredibleart.org/lessons/rhodes/rightsidebrain.html#sthash.tJHX16NI.dpuf
Students will investigate the terms and processes of contour drawing.
Students will create practice drawings of a series of drawing techniques.
Students will evaluate their drawings based off certain criteria.
Students will create an original graphite or charcoal still life composition.
Media:
Computer practice paper; Sharpie Fine Point Markers or ink pen; desire to do the exercises CORRECTLY so you do not cheat yourself out of a stronger brain.
Vocabulary:
(Select the words you are not familiar with and find their definitions in the dictionary. Write these meanings down in your sketchbook) analytical; zone out; intuitive; nonverbal; serially; left-brained; right-brained; perceptual; L-mode; R-mode; paradoxically
Purpose:
To provide you with exercises to strengthen your right side of your brain so you can draw what you see and not what you think you see. Right-brained people are supposed to be artistic and spontaneous, while left-brainers are literal and analytical.
General:
"You have two cerebral halves: a left and a right. Modern brain scientists now know that your left brain is your verbal and rational brain; it thinks serially and reduces its thoughts to numbers, letters and words… Your right brain is your nonverbal and intuitive brain; it thinks in patterns, or pictures, composed of ‘whole things,’ and does not comprehend reductions, either numbers, letters, or words."
Betty Edwards, author of Drawing from the Right Side of the Brain, has used the terms L-Mode and R-Mode to designate two ways of knowing and seeing - the verbal, analytic mode and the visual, perceptual mode - no matter where they are located in the individual brain. You are probably aware of these different characteristics. L-mode is a step-by-step style of thinking, using words, numbers and other symbols. L-mode strings things out in sequences, like words in a sentence. R-mode on the other hand, uses visual information and processes, not step-by-step, but all at once, like recognizing the face of a friend.
Most activities require both modes, each contributing its special functions, but a few activities require mainly one mode, without interference from the other. Drawing is one of these activities.
Learning to draw, then, turns out not to be "learning to draw." Paradoxically, "learning to draw" means learning to make a mental shift from L-mode to R-mode. That is what a person trained in drawing does, and that is what you can learn.
Since Betty Edwards first published her book in 1979, it has been on the New York Times best seller list with more than 2.5 million copies sold. It has been translated into 13 languages and is the world's most widely used drawing instruction book.
Whether you feel you have little talent and doubt you could ever learn; or you enjoy drawing but have not been able to get beyond a child-like level, these exercises will show you how to gain and master drawing skills. If you are already drawing as a professional artist it will give you a greater confidence in your ability and deepen your artistic perception.
Once learned, drawing can be used to record what you see either in reality or in your mind's eye, in a manner not totally unlike the way we can record our thoughts and ideas in words. Many 20th century abstract painters who appear to draw and paint in a completely random fashion, had to learn to draw realistically before they were able to make the shift into abstract painting. Picasso, Willem de Kooning, Matisse, Mondrian and Jackson Pollock are a few examples of great abstract painters who first learned to draw realistically.
For most students, one of the frequent effects is a new self-perception as a creative and artistic person who can actually draw what they see. You will be learning 6 exercises to help put the left side to sleep and exercise the right side. In all of these exercises you can not talk. Talking turns on the left side and that is what we are trying not to do. You can not even think in words.
Exercise / Practice:
1 - BREAKING UP SPACE:
➢ Only draw vertical and horizontal lines
➢ Do not pick up your pencil until time is called
➢ Do not think in terms of words
➢ Relax
➢ Draw at a slow to medium pace
➢ If you run out of space just retrace the lines you have already drawn
➢ Do not stop until time is called.
2 - HAND / EYE COORDINATION:
➢ Draw your non-drawing hand.
➢ Your eye and hand need to move in the same direction, at the same time.
➢ Keep your eyes on the object (your hand).
➢ Do not look at your paper. This is called "blind contour drawing"
➢ Do not speak
➢ Do not try to figure out what object you are drawing until the exercise is over. Just focus on the edges of the object.
3 - VASE/FACE DRAWING:
This is a quick exercise designed to illustrate the mental conflict that can occur between L-mode and R-mode. This is a famous optical illusion drawing, called "Vase/Faces" because it can be seen as either two facing profiles or as a symmetrical vase in the center. Your job, of course, is to complete the second profile, which will inadvertently complete the symmetrical vase in the center.
➢ Redraw the profile already printed. Just take your pencil and go over the lines, naming the parts as you go, like this: “Forehead... nose... upper lip... lower lip... chin and neck."
➢ Go to the other side and start to draw the missing profile that will complete the symmetrical vase
Did you experience some conflict during the drawing?
This Vase/Faces exercise helps each person to experience, in their own minds, the mental "crunch" that can occur in drawing. Let me tell you why this mental conflict happens. First, I asked you to name each feature, thus strongly "plugging in" the verbal system of the brain. Then I asked you to simultaneously complete the second profile and the vase. This can only be done by shifting to the visual, spatial mode of the brain. The difficulty of making that mental shift causes a feeling of conflict and confusion - and perhaps even a momentary mental paralysis. Didn't you feel it? The solution to the conflict, of course, is to draw just what you see without naming the parts.
➢ Do this same exercise again, but this time do NOT label any part of the face
➢ Do not think in any words
➢ Also break the area into smaller sections (keep in mind “You can eat an elephant one bite at a time”) as shown by the teacher
➢ Do a vase/witch
➢ Do a vase/monster
4 - SEATED STUDENT: Tracings do not get a grade!!! You only work for one half of a period and shown. Turn the original UPSIDE DOWN and do not think in terms of labels.
5 - PICASSO'S MODEL: Tracings do not get a grade!!! You only work for one half of a period and shown. Turn the original UPSIDE DOWN and do not think in terms of labels.
6 - STANDING WOMAN: Tracings do not get a grade!!! You only work for one half of a period and shown. Turn the original UPSIDE DOWN and do not think in terms of labels.
Daily Goals
1st Day- Finish BREAKING UP SPACE, EYE AND HAND CO-ORDINATION.
2nd Day - Finish VASE/FACE DRAWING, SEATED STUDENT.
3rd Day - Finish PICASSO'S MODEL, STANDING WOMAN.
5th Day - Finalize the FINAL by the end of class – Bring all exercises (make sure they are in order or they will not be graded until they are) and final drawing up to the computer with your assessment and watch your grades being recorded. Work on extra credit (see me about browsing the programs we have in the computer)
Assessment
- (P) Pre-assessment - 1 hand drawing before instruction. Day 1; 5 min
- (F - Formative) - 2 vase/face drawings. Day 1; 10 min
- (F) - 1 vase/witch, 1 vase/monster drawing. Day 1; 10 min
- (F) - 1 upside down drawing of Picasso's Igor Model. Day 2; 20 min.
- (F) - 1 blind contour of non-drawing hand. Day 3; 5 min.
- (F) - 2 blind contour drawings of a portrait, self or peer. Day 3; 10 min.
- (F) - 1 contour drawing of a portrait, self or peer. Day 3; 20 min.
- (F) - 1 contour drawing of an object, choice. Day 3; 20 min.
- (F) - 1 contour drawing of non-drawing hand. Day 4; 20 min.
- (F) - Still life Musical Chairs contour drawing. Day 5; 50 min.
Formative Assessment Rubric
4 - Excellent. All drawings are complete high effort and excellent quality.
3 - Proficient / Good. All drawings are adequately complete.
2 - Novice / Basic. 9-11 drawings are complete minimal effort and quality.
1 - Developing. 8 or less drawings partially complete with minimal effort or quality.
Materials:
Drawing on the Right Side of the Brain - Drawing on the Right Side of the Brain is the world's most widely used drawing instruction book. Whether you are drawing as a professional artist, as an artist in training, or as a hobby, this book will give you greater confidence in your ability and deepen your artistic perception, as well as foster a new appreciation of the world around you.
Drawing on the Right Side of the Brain Workbook - A fully revised and updated edition of the essential companion to Drawing on the Right Side of the Brain--over half of the exercises are new!
- See more at: http://www.incredibleart.org/lessons/rhodes/rightsidebrain.html#sthash.tJHX16NI.dpuf
Summative Assessment
For this first summative project, you will be given some suggested options to show what you've learned about contour line and "Training Your Eyes to See." Remember, draw lightly, don't worry about mistakes, and have fun!
| summative_assessment_planning_sheet.pdf |
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Choice #1
Draw a blind contour of your own, or another person's portrait. You may work from life or a photograph. This is supposed to look wacky so don't be too hard on yourself. Please be sure to draw big enough so that the blind contour lines fit well within the picture plane of your composition. Lastly, add smooth shading (from our practice sheet) to the drawing to give it a realistic feel. Get Some Help & Keep it Real! Be sure to use a photograph of the person you are drawing as a reference for shading and realism. |
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Choice #2
Draw a series of 3 or more objects that represent you in some way to depict movement and rhythm within the composition. These objects may be similar in nature or not. Draw the contour edges of each object before adding shading. Movement and Rhythm go hand in hand with Repetition, so as long as you have a motif of repeated objects, it will work! Your work must show a use of at least 2 different shading techniques we practiced in class. |
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Choice #3
Draw a series of 5 - 7 blind contour or contour line drawings of a subject (topic) of your choice. However, these need to be objects, not cartoon characters, not logos, not copyrighted pop culture imagery. Each drawing should be done in marker on it's own sheet of transparency film. Then, organize the drawings by overlapping them in a unique and visual engaging way. Finally, use an overhead projector to project your drawings onto your drawing paper. To finish the composition, shade and add details to your drawing while using a minimum of 3 shading techniques from the practice sheet. |
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Choice #4
Create a complex contour study of one of your hands or feet. Use line to accentuate the contours of the form. Essentially, line should create the form through hatching and contour hatching. Your drawing should feel like a resolved art piece, not a sketch. Push it Further Then, once you have the hand or foot drawn, add to your drawing as if it were interacting with something or someone. |
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Choice #5
Every teen loves taking photographs with his or her phone! Take a photo of something that shows repetition, pattern or emphasis. Print out the photo to 8 1/2 x 11 sheet of paper. The photo should fill the picture plane of the viewing area (not too much blank area showing is all that means!). Draw the photo as contour lines and add shading. Push it Further Add highlights to your drawing with a white charcoal pencil or highlight pen. |
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Choice #6
Choose an idea of your own. The only requirement is that you must draw from life or a photograph that you take. Create a still life of your own or go out and shoot a photograph of something you'd like to draw. Shade with full value tonal range.
Choose an idea of your own. The only requirement is that you must draw from life or a photograph that you take. Create a still life of your own or go out and shoot a photograph of something you'd like to draw. Shade with full value tonal range.
| RUBRIC - Summative Composition "Training Our Eyes to See" |
Alternate Summative Assessment
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Composition Choice:
Choice 1 - Click on the above theme generator button, go to the website (Magatsu.com) and click the "generate" button. Try to stick with the first theme that is generated for your drawing subject. Then, plan your subject matter through use of a photo or objects to draw from. Refer to rubric.
Choice 2 - Go to your FB, Twitter, Instagram, etc. Find the most visually pleasing photo you took and make it 8"x10" (the same size as a printed page) for the subject of your drawing. With a 4"x6" view finder, crop in the most aesthetic portion of the image. Think about Rule of Thirds and an asymmetrical composition when planning your drawing.
Choice 3 - Search for a group of objects to bring in from home that represent you in some way. Create a symbolic self portrait through use of objects to draw from. Refer to rubric.
Choice 4 - Choose 1 or 2 objects. Create a collage of multiple view points in a singular composition.
Choice 5 - Draw the still life arrangement that Manders has set up in the classroom. Remember, use the view finder to "zoom-in" on the still life to find an interesting composition. Refer to rubric.
Choice 6 - Choose 3 - 4 different objects that you respond to. Objects that have meaning to you. Draw them on the same picture plane / composition as blind contour or modified contour drawings and have them overlap. Then shade in all the shapes created value scales in each. Look to Manders example. Refer to rubric.
Summative Sketchbook Assignment:
Things to Consider:
Duration
2 weeks
Choice 1 - Click on the above theme generator button, go to the website (Magatsu.com) and click the "generate" button. Try to stick with the first theme that is generated for your drawing subject. Then, plan your subject matter through use of a photo or objects to draw from. Refer to rubric.
Choice 2 - Go to your FB, Twitter, Instagram, etc. Find the most visually pleasing photo you took and make it 8"x10" (the same size as a printed page) for the subject of your drawing. With a 4"x6" view finder, crop in the most aesthetic portion of the image. Think about Rule of Thirds and an asymmetrical composition when planning your drawing.
Choice 3 - Search for a group of objects to bring in from home that represent you in some way. Create a symbolic self portrait through use of objects to draw from. Refer to rubric.
Choice 4 - Choose 1 or 2 objects. Create a collage of multiple view points in a singular composition.
Choice 5 - Draw the still life arrangement that Manders has set up in the classroom. Remember, use the view finder to "zoom-in" on the still life to find an interesting composition. Refer to rubric.
Choice 6 - Choose 3 - 4 different objects that you respond to. Objects that have meaning to you. Draw them on the same picture plane / composition as blind contour or modified contour drawings and have them overlap. Then shade in all the shapes created value scales in each. Look to Manders example. Refer to rubric.
Summative Sketchbook Assignment:
- In your sketchbook, plan your composition. What will be the theme or focus of your art?
- Create / Brainstorm a mental mind map to help deconstruct your theme into a visual representation (ie; objects)
- Once you figure out the theme or subject matter for your drawing, to warm up, use your view finder to finalize composition choices and start by drawing a blind contour drawing of your subject matter. Then, draw a quick contour study of your subject.
Things to Consider:
- Composition - Arrangement or organization of art elements to create principles of design. Rule of Thirds perhaps. Open vs Closed composition
- Contrast in Value - Darkest darks against or next to lightest lights.
- Use a range of 2H - 6B graphite pencils and charcoal pencils.
Duration
2 weeks
