Shoreline Community College annual outcomes assessment report—2002-03
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Instructional ActivitiesPreparation: Instructor prepares the room to accommodate the class in terms of number of students and distance from the model stand for each student. Lecture/Demonstration: Discussion regarding proportion, over all and segment by segment of the human form. Use of the skeleton as a visual aide in demonstrating to the class the physical proportions and how to consider the in a contour drawing process. Scale and time are explained as related factors. Instructor directs the model regarding the aim of the class at this time and the type of poses appropriate for the lesson content. The class is asked for concerns or if there are any questions regarding the type of drawings for this session. Instructor opts for model timed or instructor timed poses. Directions are given to the class and the drawing session begins. Use the skeleton to show physical relationship of the size and scale of bone length and width.
Students are directed to place their drawing selections on the review wall. Instructor begins crit by pointing out positive relationships and defining vocabulary by noting working examples. Instructor asks students to comment on work they find as representing a carefully considered contour. Students often need further direction and may need to respond to individually directed comments and questions. The dialogue objective is to seek out identifiable relationships in the work that demonstrate careful consideration of contours, proportions and mechanics . Student ActivitiesClassroom drawing: Students are seated or standing in place in the studio and are at a distance of about ten to fifteen feet from the model. The figure is lighted, unclothed and stationary. Students work from observation on large sheets of drawing paper with pencils and no erasers. Time per drawing is limited to one to three minutes. Students do not change paper for the series. As many as six figures may be on one page. Process is repeated several times. Critical dialogue: Students post work on the viewing wall and discuss the process, the products among themselves and with the instructor regarding the objectives of the action. Homework: None.
Suggested activity related to speed skills and decision making to facilitate the drawing process.
Students may find and report on similar drawings they have viewed in galleries and museums. Assessment Activities Observation activities: The instructor observes the students while they draw. Watching for deliberate and intensive eye contact with the subject matter, good posture and position of the drawing tool. Do students show consideration for and comparison of the aspect ratio of the subject. Cognitive processing: This is difficult to know exactly, but indicators are if the student is following the directives for contour drawing, avoiding the impulses to fill in areas, positions themselves appropriately to engage the subject matter. Selects the proper tools and asks questions about the process. Performance awareness: As above, if the students position themselves appropriately, draw at a scale that will allow them to complete in the time allowed, are focused on task, recognize problem areas and re-draw, do they erase excessively. Affective response: Evidence of intensity and verbal comments. The crispness of the work often indicates and appreciative sense of accomplishment. Students usually are willing to discus their work with others Larson Case Study Example Ink wash drawingSpecific project: Ink wash drawing with Sumi-type brush on newsprint. Subject matter is organic and in the form of a still life set-up. Emphasis is on the fluid nature of ink wash and its character as a medium. Outcomes featured: 1 a. b. c. Observes and notes space, shape and value relationships of the subject. 2 a. b. Use of line, shape, space, texture, value to develop the picture plane. Use of the principles of unity, balance and harmony 3 a.b. c. d. Demonstrates fluidity of the medium Assesses relationships of space , shape, value and textures. Adjusts ink to water controls. Respects working time lines. 4 a. b. c. d. Verbally astute during the critiques. Instructional activitiesPreparation: Set up the subject matter to accommodate the student seating, providing an interesting view from all points in the room. Set lighting for full value range for all in class. Water containers and demonstration materials are readied. Secure the crit board for the room – tacks from program manager’s office. Lecture: Discussion regarding physics of fluids (high density / low density, surface tensions and absorption ratios based upon paper surface characteristics), brush type and focus on brush to paper, development of value relationships. Strategies for timeline restraints, approach, commitment and completion of the work are discussed before beginning the working session. Demonstration: Instructor demonstrates care and cleaning of the brush, proper mixing techniques or methods for blending values used in wash drawings. Emphasis is on building the value relationships, the fluid nature of the medium and the free flowing aspect of the drawing stroke. Critical dialogue: Instructor sets the limits of the critique and the type of concerns that are related to the fluid nature of the medium and value representation, light direction and pattern. Begin by asking for comments from the class members. Emphasis should be placed upon the positive aspects of the medium and how it relates to the content. Student Activities Classroom drawing: Students begin by experimenting as directed in the demonstration. Laying down a series of washes and trying wet on wet and wet on dry development of a five-step value scale. They expand it to seven to ten values. Following the practice session of about twenty minutes, attention is turned to drawing from the still life. Students format the work, plan the composition of the value pattern and decide upon a strategy for achieving the desired ink wash drawing. Using ink, brushes, water and sponge the drawing is accomplished in approximately fifty minutes. Critical dialogue: Students ask questions and discuss the nature of the medium and how it is best controlled for value, shape, line and texture during the demonstration. They display and discuss their own work and the work of others in a constructive manner attempting to better understand the medium. They share discoveries. Homework: Practice is recommended. Three small (9”x 12”) value studies of objects lighted by a single light source are required for presentation for the next session. Journals: They take notes and record their observations of the medium. Reporting: Gallery visitation and report on a sumi or ink wash drawing exhibit will satisfy one of the gallery visitations requirements.
The instructor observes the students as they draw, watching for deliberate and intense focus on subject matter before the brush meets the paper. Planned moves with the brush, use of wet on dry and wet on wet techniques for effect, use of clean water and a clean brush. Cognitive processing: Students show pensive study and comparative analysis of the study and the subject. They make use of the tools and the medium at appropriate times in the development of the work. They set up their work area appropriately for the best use of the medium for the wash drawing. Performance awareness: Emotional responses to successes and to failures are shared. Careful placement and handling of tools are exhibited. Value relationships, light source and shapes of the subject matter are portrayed with reasonable accuracy. Affective response: Student shows demonstrated enthusiasm for the medium by working after class, also by seeking more information about the process and related media, as well as showing a willingness toward the medium. Download 1.37 Mb. Share with your friends:
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