Shoreline Community College annual outcomes assessment report—2002-03
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Preparation:Set up still-life with directional lighting. In the first session all objects are painted white to emphasize the value of light and shadow. Second session introduces objects with different local value. Third session features complex patterns of local value, light and shadow, including patterned fabric. Lecture / Demonstration: The instructor spends time with students studying the still life before drawing, focusing on patterns of light and dark or value structure, range and key of value, value as light and shadow and local value, and the influence of focal point on discrimination of value contrast in the still life. Procedure is explained / demonstrated for creating a toned ground of middle value, erasing light areas and adding darker values, finally determining darkest darks and lightest lights. Edge contrasts are focused on in the second session.
Students are asked to put up drawings for review at 30 to 40 minute intervals. Strategies for beginning, middle, and end phases of drawing are discussed. Instructor asks students to identify drawings which create an overall pattern of value shapes, use a five step value scale, create dominance and sub ordinance in the value structure, have different value ranges and scales, use different strategies for the development of the drawing, and integrate previously emphasized compositional development. The instructor will periodical take the lead in making these critical assessments, making it a point as a role model to use the vocabulary introduced in class and to model positive and respectful critical judgments.
Students come prepared to class with appropriate materials and work according to instruction. Critical Dialogue: Students participate in class critiques of drawing according to instruction. Homework / Journals / Reporting: Assessment ObservationsObservation activities: The instructor observes that the student maintains a rhythm of frequent eye contact between the subject and with the page, adjusts posture and the orientation of the drawing surface to facilitate visual comparison of the drawing with the subject, and engages in measuring activities such as sighting techniques for proportional and alignment relationships. Cognitive Processing: The instructor observes that the student follows the technical procedure of working from a toned middle ground, erasing out highlights and adding in dark values; creates a five step value scale early in the drawing and uses this scale to develop and adjust the value structure; can identify problems in the drawing’s value structure, edge relationships, and shape proportions and make changes in the drawing’s value structure appropriately. The student’s drawing shows value as the dominant organizing element in the drawing, a clear pattern of overall dark and light value shapes, a range of hard and soft edges between value shapes, and dominant and subordinate areas of the value structure that create focus and movement in the drawing. The student’s participation in class critiques of drawing show the ability to identify drawings which demonstrate the above dimensions of value structure, have different ranges and keys, and integrate previously emphasized compositional development including proportional and spatial relationships, scale, movement and direction, visual unity and contrast.
The instructor observes that the student identifies patterns of behavior or strategies that recur in the development of the value structure of their own drawings, explores different strategies for developing the value structure of the drawing, explores possibilities of medium, paper and technical approaches for developing value relations, and listens to feedback from other student and the instructor, observes other student’s or artist’s work for ideas and approaches to explore. The student’s drawing shows intentional variations in such formal dimensions relating to value structure as range and key of drawings, edge contrast, overall versus vignette focus, scale, contrast of value with line, scale, etc.. The student’s participation in class critiques of drawings show the ability to identify, compare and contrast drawings which use different strategies of development, and listen constructively to feedback form other students and the instructor. Affective Response: The instructor observes that the student stays on task with the drawing problem despite frustration during the drawing process, expressed through body language or verbally, shows pride or sense of accomplishment through body language, actions, or verbally. The student’s participation in class critiques of drawing show…
Amstutz - Case Study Sample MeasuringSpecific project: Measuring proportions and angles in the still life. Students use measuring and sighting techniques to draw cubes and simple geometric forms. Outcomes featured: 1: a.b.c. Transfers observations of proportional relations and angles of the subject in the picture plane to those of the page. Distinguishes the difference between actual spatial relations of the subject and perceived visual relations. Observes proportional and angular relationships of negative space shape as well as object shapes. 2: a.b. Uses line to translate linear and shape relations of the still life to the page. Makes decisions about scale and placement to organize the composition relative to the format of the page. 3: a.b.c.d. Exploring possibilities of charcoal as a medium to advantage in making adjustments in measured relations. Identifies problems in representation of proportions and angles and makes changes in drawing to correct them. Uses time to structure the drawing process. 4: a.b.c.d. Identifies drawings in critiques that show measuring activities and use scale and placement to advantage. Identifies drawings in critiques that show accurate measuring
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