Studio Lesson & Final Project-
Violent, Political, and Life Drawing
By: Amy
Overview of Lesson Plan
Curriculum Area: Visual Arts
Grade: 12 (AVI4M)
Topic: The trajectory of controversial art in the context of the nude figures, political and violent works
Timeline: Approximately one week
Physical Environment: High school studio art room
Permission / Release Forms
Student Permission Form:
It is advised that students have parental consent in order to attend life drawing sessions
Release Form:
The release form gives parental consent in order to display student work throughout the schoolStudio Lesson: Life Drawing Lesson
Set Up: 10min
Students will gather materials in preparation for life drawing session and set up in an area where they have room enough to stand with their drawing board and materials. It is preferable that the students circle the perimeter of the room so they can all see the model.
Materials Required:
- Newsprint 18x24
- Compressed Charcoal
- Easel/Donkey
- Drawing board
- Clips
- Pencils (soft 2B or softer)
- Handouts (attached)
Teacher will assist the model to the center of room.
Studio Lesson : Assessment for Learning
Set-Up/Diagnostic Test :
- Once students have set up their drawing materials, and are waiting for the teacher to position and light the model, students can complete a diagnostic drawing task that requires them to draw a boy seated on a box, without any visual references.
- This task should only take a few minutes and is meant to highlight the importance of carefully observation in life drawing.
- This will also allow the teacher to get a sense of where each student is starting from so that they can be supported appropriately throughout the lesson.
Studio Lesson
Drawing Lesson: 10min Ideal Proportion:
Ideally, students will have encountered this concept earlier so this should be a review. Teacher will distribute the Ideal Proportion handouts. Using the model as a reference, teacher will point out how ideal proportion works in real life. This will show students the application of the concept of proportion.
Teacher will light the model in a dramatic way so as to accentuate volumes.
Gesture Drawings: 15mins
Teacher will refer to handout re: gesture drawing.
Teacher will model a 30 second gesture, describing verbally what they are doing during that time.
Students will engage in gesture drawing from the model on newsprint using compressed charcoal.
Model will be instructed to switch poses every minute
Students should be reminded that they need to render the entire model each minute, filling the page with the figure. They may place multiple gestures on one page
After 5 minutes, instruct the students to display their work to the class from the spot where they are standing. Teacher will critique the drawings, pointing out successful areas of gesture technique to the class.
Gestures resume, the poses should be of shorter duration, as short as 5-10 seconds. Teacher should allow the students to build up a number of drawings on one piece of newsprint but be aware and instruct the students to switch sheets when appropriate.
It is important the teacher watch the students as they work, reinforcing concepts outlined in the lesson as they draw, making critical comments and giving positive reinforcement to the class.
Assessment for Learning - Gesture Drawings :
After distributing out the various handouts, and introducing gesture drawing, the teacher will walk around the room providing suggestions for improvement as the students work. At this point, the suggestions should be geared towards how students stand at the easel, how loose they are with their drawing material, and the scale of their drawings.
After students have completed gesture drawing for about 5 minutes, the teacher will ask them to break and take a quick walk around the room to see how their peers are approaching the drawing task.
The teacher then asks the students to return to their work and perform a brief (mental) self-assessment of how they are progressing. Aloud, the teacher asks students if their work meets the following requirements:
Have you included the entire body of the figure in each of your drawings?
Are you focusing on capturing the essence of the pose?
Have you avoided trying to capture unimportant details such as facial features and fingers?
Have you included both light and dark values within your drawings?
Have you used cross-contour and hatching lines to build volume in your longer poses?
Have you varied your line thickness to show depth and weight? The teacher should also write this checklist on the board so that students can consult it as they continue their drawing.
Sustained Drawing: 40min
Teacher will instruct the model to pose in a comfortable way that he/she can sustain for 30 minutes or more.
Students will engage in a single sustained drawing. They will be responsible for at least one completed drawing on 12x18 sheet of Stonehenge drawing paper. The drawing should be completely shaded and the composition should be considered. Teacher will instruct the students to choose a spot in the room where they like the angle of the pose Teacher will refer to Foreshortening handout and point out which students will be likely to encounter this concept Teacher will point out areas of highlight and shadow. Have the students work lightly first with a hard pencil, sketching in or blocking overall shapes and planning composition. Students will then fully render the subject in full tone using pencil.
Studio Lesson: Assessment for Learning
Sustained Drawing
Before beginning, the teacher should remind students about the topic of controversial art, and encourage them to choose a part of the body that they are comfortable drawing, including work that may be viewed as more controversial.
As the students work, the teacher will continue to walk around the room and provide feedback and suggestions when necessary. This will be especially important when they are sketching the basic proportions and successfully showing the correct foreshortening.Students will be reminded that they will be participating in a critique of the work the following day.
Studio Lesson: Final Project
Mental Set: The students have already been given direction as to the basics of gesture drawing (e.g. making fast judgements on proportion and form – see gesture drawing handout). The teacher had worked up to proportions and body weight with the students (see the figure in proportion handout). The students have completed the following: Sketching poses between 30 seconds and 2 minutes (student volunteers) using four mediums on newsprint:
Types of Gesture Drawing
|
Medium
|
Scribble/Coil
|
Conté
|
Positive/Negative Mass
|
Charcoal
|
Geometric
|
Oil Pastel
|
Core
|
Choice
|
Students have proceeded to 2 or three 5 minute poses. Students are reminded to focus on capturing the ‘entire figure,’ and not to focus on the details. Students have selected which of the four mediums they believe to suit a particular pose best (e.g. quick pose,sustained pose).
For the Final Project, students will complete one longer pose that focuses on a specific body part. Students will use their viewfinders to target a specific image,the cropped image will be sketched into students’ sketchbooks. A final critique/curatorial session will occur following the completion of the Final Project. In this session, the teacher and the students will look at the artwork as a whole, and will talk about the appropriateness of displaying the work in a public space. The students and the teacher will engage in a discussion which questions works which are more controversial, and why (in considering that the students’ Final projects had emerged from the same model and the same pose).
Studio Lesson: Checklist
*This checklist is intended for teacher use as the unit is progressing to help with the final assessment of the lesson/unit
Studio Checklist to indicate understanding:
Students have an awareness of shape and form, as demonstrated in gesture and sustained pose drawings.
Students demonstrate, through gesture drawings and/or sustained pose figure drawing, an understanding of ideal proportions of the human figure.
Students demonstrate, through gesture drawings and/or sustained pose figure drawing, an understanding of foreshortening.
Student drawings of the human figure are complete, in various poses showing an understanding of use of space, and relation of body to space it encompasses.
A variety of different techniques are used effectively when completely gesture drawings.
Appropriate, interesting and/or experimental use of materials.
Studio Lesson: Handouts
Gesture Drawing
Ideal Proportions
What must first be differentiated is if the student intentionally or unintentionally produced a work of art that promotes hate or disdain toward a certain gender, political, cultural, or social group. The level of controversy generated by the artwork must also be examined (e.g. what is it about the artwork that creates a great deal of controversy amongst fellow classmates, parents, and staff?). Without ‘censoring’ the student's work, the teacher could steer the student in a direction that enables the student to maintain their original message (e.g. war is bad), without the representation of specific cultural, political, social or religious groups in a manner that others might find particularly offensive - instead choosing to focus on the 'big idea.' The teacher could also guide his or her student in an unimposing manner, that steers the student away from using language or imagery that others may find offensive or derogatory to their gender, social, cultural, religious or political beliefs, while still staying true to their initial artistic vision.
Questions students should consider when creating Political and Violent Art
Is there hate material, propaganda or subliminal messaging that is found to be offensive to others in the piece?
Is the work a mere representation of the artist's point of view on a specific culture, religion, social group, gender, or political affiliation (which may be construed as offensive)?, or does the artist deal with a more broader issue or concern that he or she finds relevant and important to get across?
What obligations does the visual arts teacher have in putting up their student's artwork if the teacher does not find the work offensive, but others in the school do? What boundaries are presented for the teacher, in terms of asking a student to revise or censor their 'offensive' work?
Is the student obligated to change his or her work at the request of teacher, even if the student strongly disagrees with the teacher's suggestion.
How can infringing on the students right to artistic expression and freedom be avoided?
Critique & Self-Reflection
Set-Up: 10 min.
All work will be displayed on easels around the classroom. Students will be put into pairs, and assigned 4 drawings to assess, other than their own (this ensures that each work will be critiqued by two pairs).
Critique: 30 min.
Using the attached format (Peer critique form), each pair will complete a written critique of the four works assigned to them. This requires them to critique and provide feedback in regards to the strengths and weaknesses of the composition, proportion, value and shading, as well as the potential controversial issues attached to the work.
Upon completion, students will hang their work on the board (in preparation for the final group discussion) and take the accompanying critique notes to review before coming together for a final class discussion.
During the critique, it is essential that the teacher continually monitors the students to ensure that fair and thoughtful critiques are being completed.
Class Discussion: 15 min.
The teacher-led group discussion will centre on the issue of controversial artwork.
Specifically the teacher will ask;
Identify any art works that are controversial. Why do you view it as controversial? Is there political or violent imagery?
Do you think this artwork should be displayed:
–In the front foyer?
–At the senior grad exhibition?
–In a local gallery?
If there are no controversial artworks on display, why do you think this is?
Final Self-Reflection and Evaluation: 15 min.
Students take all of their gesture drawings and choose 7 to include in their final portfolio which will be evaluated. Students complete the Self-Reflection and Evaluation, and submit it and the critique feedback forms with the final portfolio.
The final portfolio is reviewed and evaluated by the teacher using the attached rubric.
Critique Handouts
Students keep the first sheet for their reference and complete 4 copies of the
second sheet with their partner after reviewing 4 works of art other than their
own.
Rubric Handout
Figure Drawing Rubric
Expectations
|
Level 1 (50-59%)
|
Level 2 (60-69%)
|
Level 3 (70-79%)
|
Level 4 (80-100%)
| |
Knowledge/Understanding
|
The student:
| ||||
Knowledge of content:
The techniques (gesture and sustained drawing), the elements and principles (line, shape, space, volume, balance, and proportion), and the forms, structures, and conventions associated with figure drawing
Understanding of content:
The concepts (gesture drawing as preparation for a more sustained drawing), ideas (learning to draw what you see instead of what you know), and procedures and processes (starting with gesture and gradually building up towards a more finished figure drawing). Appropriate choice of 7 gesture drawings included in final portfolio.
|
Demonstrates limited knowledge of the content
Demonstrates limited understanding of the content
|
Demonstrates some knowledge of the content
Demonstrates some understanding of the content
|
Demonstrates considerable knowledge of the content
Demonstrates considerable understanding of the content
|
Demonstrates thorough knowledge of the content
Demonstrates thorough understanding of the content
| |
Thinking
|
The student:
| ||||
Use of planning skills:
Sketching (preparing for a more sustained figure drawing with the basic proportional measurements and a gesture drawing)
|
Demonstrates limited use of planning (i.e. sketching)
Uses processing skills with limited success
Reflects on the creative process in their critique with limited effectiveness
|
Demonstrates some use of planning (i.e. sketching)
Uses processing skills with some success
Reflects on the creative process in their critique with some effectiveness
|
Demonstrates considerable use of planning (i.e. sketching)
Uses processing skills with considerable success
Reflects on the creative process in their critique with considerable effectiveness
|
Demonstrates thorough use of planning (i.e. sketching)
Uses processing skills with great success
Reflects on the creative process in their critique with a high degree of effectiveness
| |
Written Peer-Critique
Use of processing skills:
Analysing, evaluating, inferring, interpreting, forming conclusions, and synthesizing their ideas about another’s artwork in the form of a Written Peer-Critique
Written Self-Critique
Use of critical/creative thinking processes:
Reflecting and elaborating on the creative and analytical processes through responses to guiding questions in the form of a Written Self-Evaluation
| |||||
Communication
|
The student:
| ||||
Written Peer-Critique
Expression and organization of ideas and understanding in art:
A clear expression of their ideas and feelings in critical response to their own art works in a written form
Use of an arts vocabulary and terminology in oral and written forms
Contribution to Class Discussions
Expression of ideas that are respectful of others’ opinions
|
Responds to other’s art work (figure drawing) with limited clarity
Reflection uses few artistic terms related to figure drawing
Contributes with limited clarity and respect
|
Responds to other’s art work (figure drawing) with some clarity
Reflection uses some artistic terms related to figure drawing
Contributes with some clarity and respect
|
Responds to other’s art work (figure drawing) with considerable clarity
Reflection uses several artistic terms related to figure drawing
Contributes with considerable clarity &respect
|
Responds to other’s art work (figure drawing) with a high degree of clarity
Reflection uses many artistic terms related to figure drawing
Contributes with a high degree of clarity and respect
| |
Application
|
The student:
| ||||
Application of knowledge and skills:
Composition (avoid a completely central image), elements and principles (line, shape, space, volume, balance, and proportion), processes (gesture drawing first), technologies, techniques and strategies (drawing big/filling the page, pencil trick for measuring figure proportion, mapping in the overall figure first before adding details)
|
Applies their knowledge of and skills in figure drawing with limited success
Connects what they have learned about controversial artwork with limited effectiveness
|
Applies their knowledge of and skills in figure drawing with some success
Connects what they have learned about controversial artwork with some effectiveness
|
Applies their knowledge of and skills in figure drawing with considerable success
Connects what they have learned about controversial artwork with considerable effectiveness
|
Applies their knowledge of and skills in figure drawing with great success
Connects what they have learned about controversial artwork with a high degree of effectiveness
| |
Written Critiques (peer and self-reflection)
Making connections within and between various contexts:
Explain the nature of controversial artwork as it pertains to your work and the work of others in the class
| |||||
Accommodations / Modifications
Students are encouraged to stand at an easel while drawing from a live model, however where there are physical restrictions, such a student who cannot stand for extended periods of time, or a student who is in a wheelchair, these students may remain seated at a desk that folds up to act as an easel.
Any students with visual challenges will be given preference for positioning themselves close to the model.
For students who have difficulty maintaining focus, they should be advised to take short breaks, and complete less gestural drawings compared to the rest of the class. For the sustained pose, they should continue to take short breaks as required.
For any students who may have difficulties related to fine motor skills, they may use plasticine instead to sculpt an area of the body.
For even further modifications, students who cannot draw the body independently, may experience more success using “connect the-dots” drawn in by the teacher or a peer.
For any students who display a resistance in getting started, a mannequin doll may be supplied to be used as a starting point, eventually moving on to drawing from the live model.
During the written components of the lesson (including the art history component and the peer critique) students who have language and literacy difficulties will work with a partner who will scribe for them.
Closure: Wrap Up
Students will write a journal reflection. In student’s reflections, the following should be considered:
What would I like to improve on?
How will I incorporate what I have learned into my artworks?
What have I learned from class discussions/debates on controversial art in the context of the nude?
Students will have a debriefing session following their written journal reflection.
The purpose of this is to discuss any misunderstandings or uncertainties student may have encountered during the lesson. It is also important in providing students with an opportunity to compare notes on what others found their experience to be like.
Suggestions / Tips for Teachers
How to ensure there are no repercussions regarding life drawing sessions, or artwork containing political and violent images:
students are made aware before registering that there is a life drawing component to the course. This is outlined in the course description in the course selection booklet and course syllabus. This ensures that students, parents, and administration are aware. This means that there are no surprises if a parent calls in with an issue to the admin team.
A parental consent letter is sent home before the nude life drawing sessions occur, reminding parents that nude models will be present in the classroom and allowing them to give written consent.
A Parental release form is issued at the start of the year in order to give consent to have student work displayed publicly in the school. This form is generic for all student art and not just controversial work. A public disclaimer is posted at the entrance to the exhibitions and attached on the invitations. This disclaimer is intended to forewarn viewers of nudity being displayed in student work. Nude student work should only be displayed for the duration of the exhibition.
Suggestions for Dealing with Controversy in the Art Studio
In Hallquist’s (2008) article, Tough Talk: Conversations with students, teachers, parents, and administrators about censorship and free expression in high school, one of the main ideas brought up was the fact that other teachers, administrators, and parents are generally supportive of using controversial work as a way to open the lines of communication and promote higher-order thinking. The main stipulation associated with that however, is communication with both the administration and the parents. Teachers are advised to send a letter home explaining the nature of the project, and inform the administration before venturing into this topic. Teachers would be encouraged to engage students in an open dialogue during and after the work is completed so that higher-order thinking can truly develop.
In Lorrie Blair’s (1996) article, Strategies for Dealing with Censorship, similar aspects as mentioned by Hallquist are brought up. According to Blair, parents, the community, and administrators should all be aware and involved in the school’s art program, as they are often the strongest advocates (Blair, 1996). Blair also addresses celebrating your art and informing others about it, which essentially builds a record of success so should a challenge arise, it will not be too overwhelmingly difficult to handle (Blair, 1996). Blair also suggests having a procedure in place if materials are challenged in art departments (Blair, 1996).
Tips for Teachers
Foresee potential student questions /statements / comments that go beyond your control. Mental preparedness for inappropriate behaviour is critical. Be prepared with alternatives (perhaps having a partially clothed model) and plan lessons with flexibility.
Reflect on how well you know your students, the learning environment, and the relationships between/with students. Promote cooperative learning and a safe learning environment. As the teacher, you set the rules and tone of the class.
Create clear guidelines for acceptable behaviour and engagement with images of nudity, or violence.
Vary the format of discussion and activities to honour different levels of willingness to participate
Try when possible to relate topics of nudity to students' lives.When appropriate, involve parents / institutions in planning and conducting the lesson. Gauge the level of acceptance prior to the lesson and use caution when in doubt.
OCT Standards of Practice & Ethical Standards
Teachers must always handle controversial subjects with a great degree of professionalism in the classroom.
Teachers must always keep in mind the Standards of Practice for the Teaching Profession as well as the Ethical Standards, specifically:
Commitment to Students and Student Learning “Members are dedicated in their care and commitment to students. They treat students equitably and with respect and are sensitive to factors that influence individual student learning. Members facilitate the development of students as contributing citizens of Canadian society.”
Professional Knowledge:
“They understand and reflect on student development, learning theory, pedagogy,curriculum, ethics, educational research and related policies and legislation to inform professional judgment in practice.”
Professional Practice:
“Members apply professional knowledge and experience to promote student learning. They use appropriate pedagogy, assessment and evaluation, resources and technology in planning for and responding to the needs of individual students and learning communities. Members refine their professional practice through ongoing inquiry, dialogue and reflection.”
Ethical Standards: Care, Respect,Trust, & Integrity
Bibliography
Blair, L. (1996). Strategies for dealing with censorship. Art Education, 49 (5), pp. 57-61.
Hallquist, R. (2008). Tough Talk: Conversations with students, teachers, parents,
and administrators about censorship and free expression in high school. Art Education, 8(1), pp. 42-47.
Ontario College of Teachers (2006c). Standards of Practice for the Teaching Profession. Toronto, ON: Ontario College of Teachers. Retrieved July 26, 2014, from:
http://www.oct.ca/publications/PDF/standards_flyer_ e.pdf
Ontario Ministry of Education. (2010, revised). The Ontario Curriculum, Grades 11 and 12: The Arts. Toronto, ON: Ontario Ministry of Education.
No comments:
Post a Comment