Niblack – Case Study Sample Perspective drawing

Niblack – Case Study Sample Perspective drawing

1: a, b. Develops drawing from observing and measuring angles and relationships between objects

2: a, b. Applies observed spaces to the principals of linear perspective.

Applies principals of design in the development of thumbnails prior to the finished drawing and applies those choices to the finished drawing

3: a, b, c. Demonstrates an understanding of the principals of linear perspective

in Identifying and solving problem areas

Completing the assignment in the time allowed

4: a, c Uses the terms associated with and describing linear perspective and

design

Understands, responds and implements critical input

Diagrams of linear perspective are displayed. Handout with definition of terms used in linear perspective is given out, explained, and discussed. Xerox copies of masterworks that demonstrate perspective are displayed.

There are 3 class sessions involved:

Day One:

One and two point perspective is explained in a one hour lecture and how those principals are applied to the real world. A drawing from observation is demonstrated on the board. Students are given a series of simple questions to ask themselves to help them analyze how to approach a perspective drawing. Students then draw a simple still life of boxes from observation and then find the perspective points and eye level. The instructor circulates in the room helping students to see and apply linear perspective to what they are observing, reminding students to also apply measuring techniques and observation of negative space (previous projects from the preceding classes). At the end of the first session, for one half hour, students are asked to begin a drawing of their bedroom at home from the point of view of standing in the doorway. They will leave the drawings in the class room and spend the first half hour of the 2^nd and 3^rd sessions revising them after going home and spending time observing and sketching their bedrooms. The instructor circulates in the classroom helping students to apply perspective to constructing an interior space from memory, stopping to do small demonstrations where appropriate and when requested by students.

Day Two:

The first half hour is spent in revising the bedroom drawing. Before beginning, students discuss as a group any discoveries they made when they went home to observe their bedrooms. Students circulate informally to observe each other’s work. After the first half hour, students are instructed to begin the Hallway drawing. They can go out in the hallway, in the stairwell or stay in the classroom. They are asked to create 3 thumbnails of 3 differing views utilizing compositional structure and gesture drawing techniques previously discussed in class. They will limit the time devoted to each thumbnail to 5 minutes and will be responsible for timing themselves. They will then choose one of the thumbnails as the basis of the composition for the final drawing. The remainder of the class is spent working on the finish of the hallway drawing. The instructor circulates, giving individual help, critique, or demonstrations as needed.

Day Three:

The first half hour is spent completing the bedroom drawing. At the end of the half hour, students circulate informally looking at each other’s drawings and discussing the drawings as a group. The remainder of the class is spent completing the hallway drawings. The instructor again provides help as needed, checking in with each student at least once. During the final 15 minutes of class, students return to the class room and display the finished drawings at their desks. They then circulate informally to look at each other’s drawings and discuss the work.

At the completion of each day’s work, the drawings are assessed and discussed in an informal setting. Students leave their drawings out on their desks and circulate around the room to view each drawing, while instructor asks directed questions addressing potential problem areas students confronted and soliciting solutions to those problems from students. At this point, basic concepts and terms of perspective are reviewed and reinforced. Instructor may point out individual drawings that are good demonstrations of those concepts and ask the students as a group to identify specific concept demonstrated.

Students choose their own seating, finding a comfortable place to work where they can view the setting they have chosen (the hallway, the stairwell, the room). They bring 18” X 24" drawing paper attached to a portable drawing board, pencils and erasers.

Students participate in circulating around the room to view other student’s work and participate in informal discussions about the work. Students listen and respond to individual feedback from the instructor.

Students will be observing bedroom at home for the bedroom exercise and making sketches in their sketchbook.

Students are asked to complete 5 drawings per week in a small sketching journal for the entire quarter. Student’s understanding of perspective should be evidenced in the journal after the perspective exercises.

Students may report on changed perception in that they now discover converging vanishing points.

Assessment Activities

Observation activities:

The instructor observes students while they draw, looking for the following:

The head is up looking at the subject matter, very infrequently down at the drawing

Posture is erect and attentive

Use of the drawing tool is relaxed and arm movements are fluid

Stops frequently to measure proportions or to step away from the drawing and view it from a distance

Occasional tours around the room to observe other student drawings and to look at samples posted on the walls.
Cognitive processing:

The student appears attentive to the explanations of one and two point perspective. The student is able to take the abstract concepts described and apply them to what they see. Basic concepts of convergence, diminution, eye level and vanishing points are evident in the still life, the bedroom drawing, and in the hallway. The student appears able to understand why a perspective drawing may be distorted and is able to take corrective measures.

Performance awareness:

The instructor observes that the student stays on task and readily asks for help when confronting difficult or problem areas, and will let the instructor know right away if they do not understand a concept. The student will attempt to solve a problem first before erasing or starting over, and will persist in solving a difficult perspective problem.

Affective Response:

The instructor observes that the student does not give up even if feeling frustrated. The student appears to be eager to learn more and attempts to apply perspective concepts to the sketchbook and other drawing assignments. The student is willing to share work with the instructor and with other students. They appear to like what they have learned and are excited about newly acquired knowledge. The student speaks up in class discussions.

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