ADVENTURE INTO DRAWING - Western Cape · Drawing is a fundamental way of learning about the world and communicating knowledge . Learners ... most powerful forms of communication in

ADVENTURE INTO DRAWING

Produced byEdumedia (WCED)

in conjunction withFrank Joubert Art & Design Centre

©2001 Edumedia (WCED)revised 2012

2 Adventure into Drawing

ACKNOWLEDGEMENTSThe following people supplied artwork that was created at the Frank Joubert Art Centre and used in the design of this manual:

Colin Stevens (photographs)Tess Cohen (11 years old)Tess Metcalfe (11 years old)William Hillock (8 years old)Wesley Addison (8 years old)Stephanie Berg (10 years old)Tanya Aymann (Grade 7)Christy Stott (Grade 6)Alex Choucer (cover image)Candic BillinghamLuke de Jager (Grade 1)Frank Joubert Art & Design Centre students (wrapping paper images)

Adventure into Drawing 3

ADVENTURE INTO DRAWING

CONTENTS

Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Creative Arts: A Study Area of Life Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Visual Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Introduction to the Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Art Elements and Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Suggested Lesson Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Learning Support Material for Visual Arts Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Edulis Booklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35


Foreword

Drawing: Minds on, hands on hearts onThis DVD is about sharing knowledge so that educators who are faced with the daunting task of

implementing the subject of Creative Arts in their classrooms – but don't know where to start – can begin to develop the skills and confidence to encourage their learners, and themselves, to make the act of drawing a significant part of the educational process .

Drawing is a fundamental way of learning about the world and communicating knowledge . Learners use drawing to express in a tangible form what they see, think, understand and interpret in their world . It is the foundation for visual literacy .

One of the most exciting aspects of the CAPS is the recognition of multiple intelligences . In all subjects, we are asked to give our learners multiple opportunities to learn; yet visual learning and visual literacy, which starts through drawing, is often ignored or belittled . Yet, the visual image is one of the most powerful forms of communication in our human vocabulary .

The use of drawing is not only confined to the visual arts . Drawing is a cognitive tool which engages the intellect and affects the development of the ability to think and communicate visually . The importance of exploring ideas and thought processes, and expressing feelings through drawing is a way of knowing that is usually overlooked in education .

As educators, we should start to recognise and value the rich processes embedded in drawing as a life skill which can be used across the curriculum to enhance teaching and learning in many different ways .

Many thanks to the art educators at the Frank Joubert Art Centre and the Ibabathane Project team for giving up so much of their time to the planning and making of this Teacher Manual and DVD .

GILL COWANCURRICULUM ADVISORVISUAL ARTS: ARTS AND CULTUREEMDC: METROPOLE CENTRAL AND SOUTH


CREATIVE ARTS: A STUDY AREA OF LIFE SKILLS

Life Skills deals with the holistic development of the learner throughout childhood . It equips learners with knowledge, skills and values that assist them to achieve their full physical, intellectual, personal, emotional and social potential . The subject encourages learners to acquire and practise life skills that will assist them to become independent and effective in responding to life’s challenges and to play an active and responsible role in society . The subject aims to develop learners through three different, but interrelated study areas, that is, Personal and Social Well-being, Physical Education and Creative Arts .

Creative Arts provides exposure to and study of a range of art forms including dance, drama, music, and visual arts . The purpose of Creative Arts is to develop learners as creative, imaginative individuals, with an appreciation of the arts . It also provides basic knowledge and skills to be able to participate in creative activities . A safe and supportive environment is created for learners to explore, experience and express thoughts, ideas and concepts within an atmosphere of openness and acceptance . Creative Arts provides opportunities for learners to give expression to their feelings and understandings, individually and in collaboration with others . It creates a foundation for balanced creative, cognitive, emotional and social development . Creative Arts education, when successfully applied, has been proven to improve literacy and to reduce education dropout levels . Creative Arts will be studied in two parallel and complementary streams – Visual Arts and Performing Arts (Dance, Drama, Music) .

Source: Life Skills, Intermediate Phase, CAPS 2012


VISUAL ARTS

Visual arts provides the learner with an opportunity to discover through play, while building on the skills and techniques that were mastered in the Foundation Phase . Visual Arts encourages an awareness of art elements and design principles found in the natural and the built environment, and enriches the learner’s personal experience of the world . Opportunities are provided for social, emotional and intellectual development, and through non-verbal expression and the process of creating art, the learner comes to understand symbolic language . Visual Arts in the intermediate phase provides the learner with the opportunity to explore, and to make decisions about the choice of this discipline in the senior phase .

The three topics for Visual Arts are: 1) Create in 2D 2) Create in 3D 3) Visual literacy

Source: Life Skills, Intermediate Phase, CAPS 2012


INTRODUCTION

ABOUT THE PROGRAMMEThe complete Adventure into Drawing programme comprises an English DVD and an English and

Afrikaans educator's guide . The guide can be utilised without the DVD .When viewing the DVD as an educator, please keep the following in mind:

• the DVD is a training DVD and as such should not be viewed from beginning to end like a televison programme . It is a good idea, however, to view it once from start to finish just to acquaint yourself with the content .

• each lesson is a separate unit – from the introduction to the final product and conclusion . You need to stop the DVD between the various lessons .

• the lessons are presented in a progressive order . This means that you could move from the first through to the last lesson in your visual arts activities programme . If you have already completed versions of the first lessons, you can progress to one of the latter activities .

• the lessons offered are naturally only suggestions and should not be mindlessly adhered to . You need to adapt the lessons to fit in with your own and your learners' circumstances .

• enjoy it – remember, the learners will be inspired by your enthusiasm!

SOME GENERAL THOUGHTS AROUND VISUAL ART ACTIVITIES• A visual art activity is the ideal platform for learners to get to know and like themselves . It is a

time where exploration in a secure environment and healing can take place . Be aware and sensitive to these processes . Imaginative situations can assist the learner to cope and deal with the real world . Learning, exploring, creating, making decisions and developing self-confidence are all elements found in a well constructed visual art activity .

• Continue your own professional growth in the visual art field . Attend courses, read relevant literature, resource the community's skills, knowledge, venues, opportunities .

• RELAX AND ENJOY . The learners love creating, through this other facets of their personality will be developed and explored .

• Be prepared to be taught by the learners!


PLANNING A VISUAL ART ACTIVITY• Refer to the CAPS and decide what skills, techniques, knowledge, processes, etc . you would like

the learners to achieve, explore, acquire or experience .• Consider how the topics will be assessed to ensure that all of the relevant factors are within the

boundaries of the lesson, and don't forget to discuss assessment criteria with the learners before the activity begins .

• When you first plan a visual art activity, keep it simple . Begin with a medium (that is the art term for what you are going to use to create the art work, e .g . pencil, pen, charcoal, paint, wax crayon, clay and so on) that is readily available . With each successive visual art activity, as you grow in confidence, you can move into exploring other media .

• It is vital that the activity be age appropriate . Use the learners' interests so that the lessons become real for the learners .

• No art materials in the school, nor money for any? Involve the learners, the community, local shops and industries! You can resource and re-use many products before they disappear into the recycling bins, e .g . papers, cans, bottles, lids, boxes, yoghurt containers, off-cuts of wood, etc . A well structured, diverse visual art activity programme will not only maintain a learner's interest but will allow for the development of many skills .

• Once you know what it is you want your learners to discover, it will be easier to decide on the media that you are going to use . For example, if using paper, what size, shape or colour is best?

• If you are embarking on a project that is unfamiliar, experiment beforehand and go through the process yourself to identify any problems .

PREPARATION FOR A VISUAL ART ACTIVITY• Thorough preparation is vital . The more organised you are the more successful your visual art

activity will be . Consider the following: � Is this a class, group or individual activity? � Where will the learners work and on what surfaces? � How will equipment be distributed? � Do all the learners have access to resources and/or equipment? � Are all the learners able to see the resources clearly? � Have you allocated sufficient time for the project? � How are you going to organise cleaning up and collecting of materials?

• Have all the relevant materials ready for use . Pre-cut paper or wire, wash out drink cans, decant inks, sharpen pencils, etc .

• Try to anticipate the learners' needs in terms of time, space and media . An organised teacher in an organised environment leads to an organised, productive learner .

• Allocate time for cleaning up after the activity .• Allow for time at the end of the lesson for the display of all work and group discussion .


INTRODUCTION OF A VISUAL ART ACTIVITY• When introducing the visual art activity, try to vary this

as much as possible to capture the learners' interest, imagination and enthusiasm . Get the learners to actively participate using music, dance and drama . Some possibilities include:

� Dressing up in something different, e .g . hats; � hang something in the doorway, which the

learners must pass through or climb over, so that they are aware of the movement of their bodies;

� gather in a different venue or place, e .g . under a tree or in a museum;

� get them moving to music or imitating the movement of a particular animal;

� play a game; or choreograph a dance; � dramatise a story, etc .

• As far as possible let the learners experience the topic using multi-sensory stimulation . Let them see, hear, taste, smell, feel – for example if learners have climbed a tree and felt a tree, they will have ‘experienced' a tree and their drawings will be far more detailed .

• The beginning of the lesson is also a good time to instruct the learners how to use the material and equipment correctly . Safety is an important factor . Learners need to know the correct usage of the equipment and to respect what they are using .

• The introduction could also include elements of Art History, and Culture Heritage Studies, where learners are introduced to well known and local artists . This is the ideal opportunity to introduce the multi-cultural aspect of our country . Try to visit your local museums and art galleries, or invite community artists to your school .

• Make sure that your introduction is not too long otherwise learners will lose interest . You can always reintroduce elements of the lesson while they are working .

WHILE LEARNERS ARE WORKING• Remain completely involved in the learners and their work throughout the lesson . Move around

the room interacting with the learners . Sensitivity is needed so that they are not frequently interrupted while they are absorbed in the process .

• If learners appears uncertain how to continue, ask questions (using art terminology for general vocabulary and language enrichment and development) so that they can solve their own problems or you can offer alternatives from which they can select .

• Your role is to stimulate and challenge the learner, to provide an opportunity for him/her to embark on a journey of the mind, body and soul, to offer a means of communication and expression in a safe environment .

• Educate the learners (and yourself!) to understand that art is a means of expressing oneself and therefore, for example artwork that is accurate and realistic is one of many ways of expression . Allow the learners to develop their own style and encourage appreciation of these individual styles . The expressive, gestural piece of work is most often not the neatest but has as much value as a neat photographic style of working .

The lesson could be linked to other subjects e .g . Social Sciences, Maths, Languages, etc . These links allow you to relate to the world of the learners so their understanding of the subject matter is increased . Both the process and the product will then become more relevant to them .

Each and every art lesson should be seen as an opportunity to enrich the learners' vocabulary and to develop language . Your lesson should be rich in language and should extend the general vocabulary the learner . Art has specific terminology and this should be introduced to the very young learner . Using rich vocabulary and input allows you as the educator to teach in and through the arts .


• If learners makes a mistake do not give them a new piece of paper, eraser, etc . Encourage the learner to change it into something wonderful, ‘a happy mistake' . Accidents or mistakes must be seen as an opportunity to explore alternatives . An opportunity to solve problems in a creative way will be negated by starting over .

• Remember it is the PROCESS that is important i .e . what the learners learn, feel and experience while creating . What is meaningful for the learner is not necessarily meaningful for you, the teacher . You should be flexible enough to accept differences in processes and approaches to finding a solution .

• If a positive art-making process occurs then the product will reflect this . It is important that the learners feel good about their creation as it reflects their experience and gives them a sense of achievement . Positive reinforcement from you is essential i .e . praise, appreciation, encouragement, but it must always be honest .

• Although it is preferable that drawing be done in relative silence, it is not essential that there be complete silence during an art lesson . Learners gain a great deal from each other through discussing what they are doing . You could also have music playing quietly in the background .

CONCLUDING A VISUAL ART ACTIVITY• If possible, all the work should be displayed and discussed at either the conclusion of the visual

art activity or at the introduction of the next lesson, if the project continues . It is important that each work is displayed and not just a select few . Displaying work creates a sense of pride and achievement, boosts confidence and motivates the learners to continue creating . It also gives the learners an opportunity to vocalise their approval of their peers and to acknowledge each other .

• Discussion around the work can be used to solve problems and advice can be offered . Ask the group to contribute something positive about each work and allow them to comment on their own work . Questions like ‘what do you like most about your picture?' can be used to encourage learners to verbalise the process . This is critical to the development of social skills, language skills (vocal enrichment) art terms (colour, tone, texture, composition) communication skills, critical thinking, etc .

• Creative work should be discussed and displayed but not only given a numerical value like a mark . This mark should reflect to what extent the learner has fulfilled the aim set for the lesson . These aims include skills, concepts and attitudes .

• During the final discussion it is important to acknowledge that learners have different skills . Through this you can work with the group to structure a visual art activity programme so that learners have the opportunity to work with their particular strengths and skills .

• Make sure that each learner places her/his name on the back of the work or discreetly in the corner . Encourage learners not to write an enormous name across the page as this detracts from the artwork .

If at the end of a visual art activity you have a variety of interpretations, you know that your activity was a success .


SOME DO'S AND DON'TS FOR THE ART EDUCATOR• Use real objects or in some instances the work of artists or

even photographs to inspire the learner instead of templates, copying, colouring in, etc .

• Do not endlessly replace sheets of paper if the learner believes that s/he has made a blunder . A creative solution can usually be found to incorporate the ‘mistake' into the picture . The learners need to learn the value of the material that they are working with and at the same time develop problem solving skills to overcome the ‘mistake' .

• Never tear up or throw away a learner's work . Teach the group to respect their own and the work of others . Teach them not to throw away, fold or destroy work . This encourages the learners to respect themselves, one another and the equipment that they use .

• Never draw on a learner's work . It is then no longer their own work and they loose their sense of ownership for it . NEVER, EVEN IF ASKED!

• Avoid judgement or comparison between one learner and the other or one sibling and another .

• Always allow the learner, by providing the time and opportunity, to complete a piece of work .

Never draw an image as an example and let the learners copy what you have drawn .

Don't cut shapes of images or objects to use as templates . This type of ‘recipe' lesson will end up with each learner's work looking exactly the same . The learners will not have had the opportunity to express and explore their own creativity and will become reliant on you . By providing ready cut templates or colouring in pictures, you will be sending a negative message which informs the learner that her/his work is not of value . And it will all be so boring!



ELEMENTS OF ARTElements are the components that make up an artwork . Just as words (verbs, nouns, adjectives, etc .) form sentences in language so do Line, Shape, Colour, Tone, Texture and Space form the artwork . These are the essence of the piece .

LINELine has physical properties such as;

• Measurement – long, short, thick, thin, etc .• Direction – horizontal, vertical, diagonal, curved,

undulating, etc .• Location – edge, surface, outline, dividing, unifying,

linking, etc .• Character and effect – freehand, mechanical, soft, hard,

jagged, wild, quiet, busy, nervous, angry, gentle, light, dark, smooth, precise, rough, careless, controlled, tight, loose, delicate, insensitive, cautious, bold, etc .

Line can be • descriptive, merely describing the shape, form or surface in an objective way;• expressive, describing a feeling, sensation or evoking a response;• static or dynamic, creating a sense of stability or movement;• gestural, as a result of physical energy and action .

Many lines used together can create tone, texture, pattern and rhythm, space and depth .

SHAPEShapes are two dimensional (flat) areas which have only height

and length . They are enclosed by an outline of one sort or another .Shapes can be natural (natural forms associated with living,

growing objects) and irregular in outline or man-made (geometric) with rigid straight lines .

Positive shape is solid .Negative shape is ‘empty space' .


FORMThree dimensional shapes are called forms .

Forms• occupy space (solid) and/or sometimes enclosed space (hollow);• have length, breadth, depth (sides), height, width;• have mass and volume; and• can be natural or man-made (geometric) .

COLOURColour is probably the most well known word associated with the language of art although we don't always realise how important its role is . The best way to begin to understand is to use the colour wheel which explains how colours are arranged and their relationship with one another . (See colour wheel on inside cover .)Colour is so familiar to most of us that we tend to take it for granted . Colour is interpreted differently by cultures and societies as well as individually . For example, it evokes emotions, moods and feelings, symbolises and transmits non-verbal information (e .g . green = go; red = stop or danger; orange = caution; blue = peace or calm, etc .) .There are three primary colours (red, blue and yellow) . These colours cannot be created or mixed by using any combination of other colours . The secondary colours (purple, green and orange) are made from mixing two primary colours .Tertiary colours are made by mixing a secondary colour with a related primary colour .Related colours lie next to each other on the colour wheel, e .g . blue and green .Complementary colours lie opposite each other on the colour wheel, e .g . red and green .Colours can be lightened by adding white (tints) or darkened by adding black (shades) .Colours give the feeling of temperature – we refer to warm (reds, yellows, oranges) and cool (blues, greens, purples) colours .Colour can be used objectively to describe the actual colour of an object – this is called local colour, or used subjectively, expressively to express feeling and evoke an emotive response .

TONETone refers to the degree of lightness or darkness of a particular hue . Tone also refers to the value of a colour, e .g . dark blue, light green .Between the tones of light (white) and dark (black) are several intermediate shades . Tonal contrast can be used to indicate form or solidity, the illusion of three-dimensionality . Muted colours or shades are used in painting to show distances and give the artwork depth . Intense concentrations of light or dark tones tend to influence the mood or atmosphere of an artwork .


TEXTUREIn visual art, texture can be visual (be seen) or tactile (be felt) . At a galnce, we can see the surface texture of something by looking at it or we can feel it by touching it .The surface quality of objects can be described in many ways, some common words are rough, smooth, furry, sticky, soft, hard, wet, sharp, blunt, shiny, reflective, still, rippled, wavy, spiky, crinkly, wrinkled, flaky, hairy, bumpy, slippery, ribbed, veined, pitted, fuzzy, prickly, etc .Texture is very important in the visual arts because it can be used to create illusions – for example, using textures of different sorts to make a two dimensional shape look as if it is a three dimensional form .Texture can also be used to enhance and enrich the surfaces of artworks, architecture and design objects .

SPACESpace in art can mean several things . Space can refer to the way artists create the illusion of depth on a two dimensional (flat) surface . This type of space is often referred to as ‘perspective' .Perspective may be created by lines, tones, textures, etc .Perspective may be created by using warm and cold colours, bright and soft; this form of perspective is often called aerial or atmospheric perspective because it has to do with the effects of light .Space can also refer to the real space occupied by three dimensional objects, such as sculptures and buildings . It is also called ‘positive' or ‘solid' space . Empty spaces, such as voids, are referred to as ‘negative' spaces . Often, you find combinations of both in three dimensional objects .


PRINCIPLES OF ARTThe principles of art refer to the way in which the learner has utilized, organised and manipulated the elements of art in his or her work to achieve specific results and effects .

UNITYIs the combination of all or some of the formal elements of art (described above) to create an effect which can convey different levels of harmony and/or fragmentation . These combinations can evoke many different responses in people, such as peace and tranquility or chaos and disruption .

RHYTHMRhythm is the flow and movement in artworks which may be, for example, controlled, smooth, or uncontrolled, jerky, erratic; and these movements are used to lead the eye around and into an artwork, create unity, suggest visual effects and responses, etc .

MOVEMENTMovement • is linked with rhythm and pattern

which can create the impression of dynamic movement; and

• can be linked to real movement e .g . as in a mobile .


PROPORTIONProportion is the relationship of parts to one another and is used to create a sense of scale, size and position in space . On a two dimensional surface, the use of proportion is also associated with perspective to suggest movement and depth .The use of proportion is often ignored by artists or its effects exaggerated to convey emotional and sensory effects .In many cultures and artworks, proportion is not realistic, but used to indicate important features, people or objects . For example, the larger the object or person, the more important they are .

EMPHASISEmphasis is closely linked with proportion, scale and perspective . It makes certain parts of an artwork more prominent than others, even if it not ‘logical’ or realistic to do so . For example, a learner who may be hearing-challenged might draw or model her/himself with unusually large ears, or a learner who enjoys being active may choose to over-emphasise her/his hands and feet; or the family pet is shown as larger than life if she/he is very fond of it .

CONTRASTThis refers to the visual differences in an artwork . Contrasts of colour, shape, size, tone, weight, texture, etc . can be created .Contrast creates richness and diversity in an artwork .Contrast can be used to emphasise aspects of an artwork .


LESSON 1GRADE 4, 5 DURATION 4 Hours

TOPIC: Visual literacy, Create in 2D

FOCUS: OBSERVATIONAL DRAWING – SKETCH

KEY CONCEPT

Through the process of careful examination of the facial features and the relationship between these features learners come to terms with who they are .

SKILLS• Observing• Gathering information• Interpreting

VALUES• Sensitivity and respect

towards others

MATERIALS NEEDED• A4 and A2 paper• Black wax crayons• Mirrors• Paint• Brushes• Water• Photocopies of small creatures

GLOSSARY OF TERMS• Portrait• Non-dominant• Dominant• Observation

DOING – Individually and in pairs. ASKING EVIDENCE

1 . Establish prior knowledge by asking about the facial features, the shape and form and the relationship between these features .

1 . Questions that allow learners to use art vocabulary to discussing shape, size and proportion .

1 . Looking in mirrors, feeling forms and tracing outlines with the fingertips .

2 . Introduce the media, black wax crayon . It is important for the learners to visualise their work in the relevant media .

2 . – 2 . –

3 . Establish the learner's non-dominant hand . 3 . Ask which hand they do not use to write

3 . They could raise their dominant hand and pick up the crayon to draw with the other hand .

4 . Encourage slow, sensitive line creating shape to show form . Learners should be continuously and carefully looking in their mirrors and drawing only what they see .

4 . – 4 . Begin with an eye, then the other eye, eyebrows, nose, mouth, jawline, ears, hair and neck .

5 . Lines should be solid and reflect the position or view that each learner has of the model .

5 . – 5 . –


6 . Distribute the larger sheets of paper and establish the dominant hand of each learner .

6 . Talk about filling the space and the size of the drawings .

6 . Once again slow, sensitive drawings continuously observing in their mirrors

7 . Provide photocopies of small creatures to fill the open spaces on the page .

7 . Ask about the characteristics of various creatures and how we relate to them .

7 . The selection of the creature should be relevant to the personality of the learner .

8 . Add colour, paint in this instance, but one could use crayon, pastel, inks or food colouring . Colour should be carefully considered to further indicate form and texture .

8 . Talk about application and consistency, paint should be as thick as yoghurt .

8 . Learners should mix their own colours .

9 . As a group discuss the completed works . Encourage each learner to say something positive about another learner's work . Distribute assessment scale . These could be self or peer assessment .

9 . Ask what has worked, how do they feel, how could they improve .

9 . An assessment rubric is completed by the learners .

ASSESSMENT SCALE ADVENTURE INTO DRAWING PORTRAIT

Name: Grade 4, 5 Duration 4 Hours

1 2 3 4 5

Has a sensitive line been used to depict the face and its features?

Composition . Is the page used fully and is the drawing well situated?

Is the paint the correct consistency?

Has the paint been well applied?

Does the picture work as a whole?

Did the learner express themselves confidently?

1 Attempted, but not able to at all

2 Only able to at basic level with support

3 Able to but not consistent, needs more practice

4 Has met the criteria, can move on to the next level

5 May be at next level


LESSON 2GRADE 4, 5, 6 DURATION 4 Hours

TOPIC: Visual literacy, Create in 2D

FOCUS: OBSERVATIONAL LINE DRAWING – Sketch

KEY CONCEPT

Learners are to develop their observation skills and record on paper a personal interpretation of a seated figure .

SKILLS• Observing• Analysing• Synthesising• Interpreting

VALUES• Empathy• Sensitivity and respect

towards others

MATERIALS NEEDED• A2 paper• Black wax crayons or koki• Pastels or crayons

ART VOCABULARY• Observation• Line• Pattern

DOING – Individually ASKING EVIDENCE

1 . Explore prior knowledge of the concepts of drawing and of the human figure .

1 . Ask learners what they know about drawing, discuss possible sizes and various drawing materials . Enquire after the culture and dress of the model .

1 . Ask learners what they know about drawing, discuss various drawing materials, ways of making marks and scale (size) . Identify and discuss aspects of the model .

2 . Discuss the media . It is important that learners visualise their drawings as you discuss the topic, for example, a painting of a human figure is very different from a line drawing in crayon .

2 . Elicit from learners the influence pressure has on crayon and therefore the line they will create

2 . The line should be a sensitive yet confident mark .

3 . If possible, seat the figure in an interesting chair so that the learners have to observe more closely . Dress the figure in clothing that has an interesting pattern or perhaps the model could wear a strange hat . Learners need to observe and draw from what they see rather than what they know . Information about traditional clothing can be used to link the art lesson with other learning areas and activities .

4 . Discuss, in detail, the model . Draw the learners' attention to the proportions and angles of the arms and legs . Talk about the clothing and the way it folds and falls . It is a good idea to use a viewfinder . Learners can make their own by cutting out a rectangle from the inside of a small piece of paper . This aids learners to position their drawing on paper and use the entire page .

4 . Inquire about the views from various parts of the room . Question what can be seen through the viewfinder according to how far it is held from the eye .

4 . Learners should spend some time experimenting with the viewfinder .


5 . Lines should be solid and reflect the position or view that each learner has of the model .

5 . – 5 . –

6 . Once the drawings are complete, discuss the background . This could even be done in the next lesson . In this lesson the background was divided into bands of pattern . All learners should be told that pattern is a group of elements which is repeated . Find actual examples of pattern to show learners . Discourage the use of 'writing patterns' but rather let the learner create her/his own pattern using shape .

6 . Through questioning enrich learners knowledge about pattern and pattern-making . Provide examples .

6 . Patterns should be original and creative .

7 . Limit the learners' use of colour . In this lesson learners were told to select three pastels . The pattern is then further developed by these colours .

7 . – 7 . –

8 . Allow time for reflection and discussion at the end of each lesson as well as at the end of the project . Displaying the work in the schools passages or foyer gives the learner a sense of pride and accomplishment .

8 . Ask what the learners like about their own and others' drawings . Talk about what makes a drawing good (see assessment scale) . At all times be positive and encouraging .

8 . Learners should be able to praise one another and make constructive suggestions .

ASSESSMENT SCALE ADVENTURE INTO DRAWING SEATED FIGURE

Name: Grade 4, 5, 6 Duration 4 Hours

1 2 3 4 5

Has a sensitive line been used to depict the figure?

Composition . Is the page used fully and is the drawing well situated?

Is there evidence that the learner has really observed?

Are the patterns original and creative?

Do the colours work as a group and do they further illustrate elements of the pattern?

Does the picture work as a whole?

Was the learner able to speculate about the models cultural origin and discuss it without bias?







LESSON 3GRADE 5, 6 DURATION 4 Hours

TOPIC: Visual Literacy, Create in 2D

FOCUS: CO-OPERATING WITHIN A GROUP – Photo

KEY CONCEPT• Co-operation

SKILLS• Social and interactive

VALUES• Consideration,

flexibility and negotiation

MATERIALS NEEDED• Flat surface, tarmac in this instance• Chalk• Chalk pastels• Costumes and props• Music

ART VOCABULARY• Silhouette• Pattern

DOING – In predetermined groups ASKING EVIDENCE

1 . Establish learners' interests and skills to create the groups . Planning and organisation is essential to the success of the lesson .

1 . Ask about interests and abilities . Establish prior knowledge which will guide the theme of each group .

1 . Learners themselves will introduce much of what is going to take place .

2 . Create spaces in which each group will interact as part of the whole .

2 . This needs to be negotiated with the class as a whole .

2 . The learners need to solve negotiating problems and compromise to find solutions .

3 . Allow time for free interpretation, commenting and drawing attention to positive aspects .

3 . Inquire how the performer feels in a particular role .

3 . –

4 . Allow artists to observe movement creating shapes .

4 . – 4 . –


5 . Artists choose their subjects and begin drawing after positioning them .

5 . Walk around the groups encouraging them and reminding them of aspects they should incorporate .

5 . The 'artists' should be constantly interacting with the model .

6 . Once a full figure drawing is completed the actor joins the artist . The enclosed space is then worked in using various drawing techniques such as pattern, tonal values and use of colour .

6 . – 6 . –

7 . At the end of the lesson bring the group together for discussion about the process and product .

7 . Ask the learners what they would do differently next time .

7 . –

ASSESSMENT SCALE ADVENTURE INTO DRAWING SHADOW FIGURES


1 2 3 4 5

Are the performance artists believable?

Has the model been positioned to create interesting shapes?

Is the completed figure well worked in terms of colour, pattern, tone and texture?

Did the learner follow instructions?

Was the learner able to function effectively as a member of a group?







LESSON 4GRADES 4, 5 / Senior LSEN class DURATION 4 Hours


FOCUS: DESIGN INCORPORATING PATTERN – Sketch

KEY CONCEPT• Extending the learners

knowledge of the features of the face to include abstracted forms and decorative areas to create a mask .

SKILLS• Interpreting• Analysing• Synthesising

VALUES• Respect for individual

differences

MATERIALS NEEDED• Sturdy paper, e .g . sugar paper, manila, light card• Scissors• Pencils• Black Artliner Koki (or black crayon)• Oil Pastels (or wax crayons)• Thick cardboard strips• Stapler

ART VOCABULARY• Symmetrical, symmetry• Asymmetrical• Dispersion

DOING – Individually and at times in pairs ASKING EVIDENCE

1 . Establish prior knowledge of masks and their uses .

1 . Discuss familiar uses of simple masks e .g . fancy dress, soccer games, use of glasses .

1 . Show examples of masks used for traditional festivals and rituals e .g . African Wedding mask, initiation masks, etc .

2 . Distribute paper which is to be lightly folded in half .

2 . – 2 . Ensure that the paper is folded along the length .

3 . Work with a partner to mark the position of the eyes, draw around this mark exaggerating the size and creating an interesting shape and then cut out the shape .

3 . Suggest various slants and exaggerated shapes .

3 . Learners should show creative, expressive shapes .

4 . Repeat the process with the nose and mouth . 4 . Ask learners to carefully consider what, if any, parts of the nose and mouth should be cut out .

4 . Masks should reflect individuality .


5 . Fold paper in half and on one side design the edge of the mask . With the paper still folded cut out this shape so that symmetry can be attained .

5 . Focus learners to create an effect by using an interesting line .

5 . Jagged or wavy lines to create an uneven edge .

6 . Use the koki to enhance the facial features of the mask .

6 . Ask the group if they wish to make any of the features more dramatic and establish how this could be done .

6 . –

7 . Introduce the concept of pattern as repeated elements .

7 . Relate pattern not only to what we see but what we hear . Ask about other forms such as a rhythm in music .

7 . Learners can use sounds to generate an auditory pattern .

8 . Use pattern to decorate the rest of the mask . 8 . Limit their choice of colour . In this lesson the restriction was 5 colours only .

8 . The pastel should be used firmly, completely covering the paper .

9 . Each learner then makes a headband using the strips of thick card and attaches it to her/his mask .

9 . Remind learners that the headband must fit snugly .

9 . The learners may need educator and/or peer assistance to do this .

ASSESSMENT SCALE ADVENTURE INTO DRAWING MASKS


1 2 3 4 5

Is the completed mask an expressive, visually exciting design?

Has pattern been successfully utilised?

Do the colour combinations work?

Has the pastel been well used?

Is the mask well made? Is it sturdy? Does it fit properly?

Is there evidence that further respect and understanding of the diversity of cultural practices was enhanced?







LESSON 5GRADE 6 DURATION 4 Hours


FOCUS: PUPPETS

KEY CONCEPT• Using newspaper in a

creative and diverse way to create a puppet, which reflects an emotion, mood or feeling .

SKILLS• Analysing,

Synthesising

VALUES• Critical reflection

MATERIALS NEEDED• A4 cartridge paper • Black ink• Sharpened ice-cream stick• Scissors• Shredded paper• Stapler• Newspaper• Masking tape• Mirrors• Additional coloured paper

ART VOCABULARY• Two dimensional• Three dimensional• Craftsmanship


1 . Establish prior knowledge . Discuss puppets and their function . Premake or obtain examples to show to learners .

1 . Elicit information about emotions, feelings and moods .

1 . Learners should carefully observe what happens to the facial features when one experiences various feelings .

2 . Using the stick and ink, and observing carefully, learners draw a face depicting an emotion on one half of a folded piece of A4 paper . Do not include hair .

2 . Encourage slow, sensitive drawings .

2 . Drawings should show changes in the facial features, e .g . smaller eyes when laughing, larger eyes for surprise .

3 . This is then cut out to obtain a second blank outline of a face on which a second emotion is drawn .

3 . Throughout the lesson encourage good craftsmanship .

3 . Careful cutting out and later making clothes, attaching hair to create a well made puppet .

4 . Staple faces back to back leaving the neck open . Stuff with shredded paper .

4 . – 4 . –


5 . Make a rod by rolling a sheet of newspaper and taping the end with masking tape .

5 . – 5 . Begin by folding over a corner .

6 . Insert rod into head and attach with staples . 6 . Once again the emphasis should be craftsmanship .

6 . Sturdy puppets .

7 . Additional 'rods' can be created to form arms if desired .

7 . – 7 . –

8 . Design newspaper clothing and dress the puppet . Incorporate patterns using stick and ink if desired .

8 . Ask learners about the details of clothing and encourage incorporation of these .

8 . Include buttons, zips, bows, pockets, etc .

9 . Add hair using newspaper or coloured paper . 9 . Draw learners’ attention to various textures and styles of hair .

9 . Hair should be various lengths and the paper can be curled or scrunched or left straight .

10 . Divide into groups and write dialogue and practice performance using the puppets .

10 . The moods of the puppets should determine the mini-dramas .

10 . Learners to script scenarios for conflicting emotions and these should then be performed for an audience .

ASSESSMENT SCALE ADVENTURE INTO DRAWING PUPPETS

Name: Grade 6 Duration 4 Hours

1 2 3 4 5

Is the face well drawn showing sensitive use of line and good observation?

Have the clothes been well designed?

Is the puppet well made, sturdy and durable?

Was the learner able to function within the group?

Did the learner make a valuable contribution to the script and performance?

Was the learner able to express him/herself confidently?







LESSON 6GRADE 4, 5, 6 DURATION 4 Hours


FOCUS: MARK-MAKING – Photo

KEY CONCEPT• Learners, having some

experience of mark making are now going to interpret sounds and words to create a piece of work .

SKILLS• Interpreting• Analysing• Synthesising

VALUES• Critical questioning

MATERIALS NEEDED• Paper or card A2 or larger depending on class size

and availability .• Newspaper• Black ink or diluted poster paint• Brushes B thick and thin • Thick black and white wax crayons• Containers of water• Music or sound effects

ART VOCABULARY• Stippling, hatching, criss-cross, scribble, curvilinear

line, tone, texture, expressive, intuitive, spontaneous, mood, rhythm, movement, format .


1 . Learners to sit with their eyes closed and to listen to the story and music prior to drawing, visualising what they hear .

1 . Inform learners to intuitively and spontaneously respond to what they hear .

1 . Learners should know from the outset that the intention is not to create a 'realistic' end product but that it should rather evoke the mood of the story . The rhythms and movement of the music should be interpreted in an expressive manner .

2 . Introduce the materials . 2 . Class discussion of the materials and their use, e .g . the point of a round brush creates a thin line or can be used for dots .

2 . Learners should be aware of how the materials react with one another, e .g . the resist of wax crayon under diluted ink .


3 . Begin the story/poem/music and allow learners to start drawing .

3 . The drawing has a beginning and ending like the story/poem/music . Choose a point of departure on your page and continue to work filling the space expressively until its final conclusion .

3 . Experiment with the materials . Use thick and thin, dark and light crayon lines (use both sides of the crayon) . Use the point of the brush as well as the side . Create a variety of marks, swirls and shorter lines or dots . Dilute the ink at times to create greys B the more water that is added the lighter the tone .

4 . Learners to initially examine their own art work and reflect on what they have created .

4 . Ask learners to identify patterns and rhythms within their own work .

4 . Look for interesting use of the material .

5 . Facilitate a class discussion on the work as a whole .

5 . Ask learners to comment on one another's work .

5 . Teach learners to accept and pay compliments and to critique work objectively and receive that critique in the light in which it was given .

ASSESSMENT SCALE ADVENTURE INTO DRAWING MARK MAKING

Name: Grade 4, 5, 6 Duration 4 Hours

1 2 3 4 5

Have a number of mark-making techniques been used?

Is there sufficient tonal variety?

Composition . Has the format been filled?

Has the atmosphere and mood been conveyed successfully?







LEARNING SUPPORT MATERIAL FOR VISUAL ARTS ACTIVITIES

Part of the textbook allocation per learner could be spent on buying some good guideline arts books for educators . Learners need arts materials to work with in the classroom .

Starter Kit For Visual Art MaterialsBasicsWax Crayons (Boxes of 24)Oil Pastels (Boxes of 10)Chalks: all colours (Boxes of 100)Dyes: all colours – vegetable/food dyes or clothing dyes which can be diluted with waterInks: all coloursGlue: cold glue: glue sticksBrushes: mixed sizes small, medium, large: flat, square or round tippedVarnish: clearKoki pens: black (Boxes of 10) ThickKoki pens: all colours (Boxes of 20) ThinPencils: GB: 4B: 6B (Boxes of 12)Ball point pens: Black, Red, GreenPaper: Brown AO sizePaper: White cartridge A1, A3 (120g 250 sheets)Paper: A1 Newsprint A1 sizePaper: Coloured, mixed A3 (80g 100 sheets)Scissors: R and L handed (small)


ADDITIONAL MATERIALS (once basic art techniques have been developed)

• Acrylic or tempera powder paints (2kg buckets from which small amounts can be decanted into containers)

• Start off by selecting primary colours (red: yellow: blue and white, black)• Clay: terracotta or white (10 kg bags)• Plaster of Paris (1 Kg bags)

WASTE MATERIALS (you can establish a resource cupboard or storeroom in your school or classroom)

• Natural dyes from vegetables and plants• Clay from clay soil• Seeds, leaves, bark, wood, shells, etc .• Drift wood, wood scraps - great for carving• Paper: Used computer paper or A4 scrap paper (with one blank surface)• Beads, buttons, bobbins• Make your own paper from scraps: use for designing papier maché objects, puppet heads, or

craft paper, etc .• Architects' and engineers' old plans (with one blank surface) – phone around – most of these

plans go to the scrap suppliers• Try and phone around for free scrap paper and off-cuts from any of the paper and card

suppliers, printers or packaging companies and newspaper publishers – use old phone directories – look in the yellow pages or ask your learners if their parents have any contacts or work for one of the above types of companies or factories

• Collect scrap coloured paper and cardboard packaging, corrugated cardboard, old magazines, posters, packets, boxes, cardboard rolls – ideal for making collages and puppets

• Any scrap paper or cardboard bobbins, containers and packages can be used for 3 dimensional projects, etc .

• Any scrap coloured or patterned materials and fabrics, string, wire, and metals• Old machinery (lovely to draw and create sculptures from)• Ask members of your school community if they have access to any useful donated or waste

resources


SUPPLIERS OF ART MATERIALS IN THE WESTERN CAPE (C.O.D.)Look in the Yellow Pages for local suppliers in your area. These are some suggestions you might like to try out.

• ART AND OFFICE (021) 551 6834 Brushes and all art equipment 082 821 8061 (Lynn Edwards)

• PRIDE TECH (021) 447 3998 (David Whitefield) paper, White Card etc NB This supplier will cut paper and card to all sizes

• CAPE POTTERY SUPPLIES (021) 701 1320 Clay, glazes and pottery equipment

• REINDERS POTTERY SUPPLIES (021) 988 2977 Clay, glazes and pottery equipment

• SA PICTURE FRAMING CO 083 231 7594 All art equipment and materials

• SENDUSTRIA PTY LTD (021) 948 1846 All art equipment and materials

• OLFES (021) 510 6189 All art equipment and materials

• KV SUPPLIERS (021) 557 8003


Useful ART BOOKS

to assist educators with the teaching of Visual Arts across the grades

This list has been compiled with the assistance of Gill Cowan (Curriculum Advisor : Visual Art: EMDC Central and South)

1 . Adams, R . Art . Key Stage 2 . Teacher's resource book 372 .5044 ADA2 . Art and craft techniques / J . Cunningham-Craig 372 .5 ART3 . Art 4-11 : art in the early years of schooling / M . Morgan 372 .5 ART4 . Callaway, G . Teaching art and design in the primary school 372 .5 CAL5 . Camp, J . Draw : how to master the art 741 .2 CAM6 . Chambers, J . A work of art : creative activities inspired by famous artists 707 .6 CHA7 . Clement, Robert The Art teacher's handbook 707 .1 CLE8 . Clement, Robert Investigating and making in art 372 .5 CLE9 . Clement, Robert Knowledge and understanding in art 372 .5 CLE10 . Clement, Robert Principles and practice in art 372 .5 CLE11 . Devonshire, H . Drawing 741 .2 DEV12 . Edwards, B . Drawing on the artist within 741 .2 EDW13 . Edwards, B . Drawing on the right side of the brain 741 .2 EDW14 . Graham, J . Art : teaching within the National Curriculum 372 .5044 GRA15 . Hogarth, B . Drawing dynamic hands 743 .49 HOG16 . Jenkins, P .D . Art for the fun of it : a guide for teaching young children 372 .5 JEN17 . Keaney, B . Arts in the school grounds 372 .5044 KEA18 . Kenyon, P . Inspirations for art 372 .5044 KEN19 . Khula udweba : a handbook about teaching art to children / L . Solomon 372 .5044 SOL20 . Lack, M . Art 372 .5044 LAC21 . Lancaster, J . Art in the primary school 372 .5 LAN22 . Learn to draw with coloured pencils: materials, skills and step-by-step projects 741 .24 LEA23 . Learn to draw with wax crayons: materials, skills and step-by-step projects 741 .23 LEA24 . Linderman, M .G . Art in the elementary school : drawing, painting and creating for the classroom 372 .5 LIN25 . Lorenzi, F . Drawing made easy 741 .2 LOR26 . McArdle, F . What'll I do for art today? 372 .5044 MACA27 . Pluckrose, H . Crayons 741 .23 PLU28 . Robertson, B . People 743 .42 ROB


29 . Robinson, G . Sketch-books : explore and store 741 ROB30 . Sedgwick, D . Art across the curriculum 372 .5 SED31 . Sedgwick, D . Drawing to learn 372 .5 SED32 . Smith, R . Drawing figures 743 .4 SMI33 . Stocks, Sue Drawing 741 .2 STO34 . Thomson, Ruth Drawing 741 .2 THO35 . The Usborne complete book of drawing 741 .2 USB36 . Vieth, K . From ordinary to extraordinary : art and design problem solving 707 .6 VIE37 . Wachowiak, F . Emphasis art : a qualitative art program for elementary and middle schools 707 .1 WAC38 . Welton, J . Drawing : a young artists guide 741 .2 WEL Wisconsin : Department of Public Instruction : A guide to curriculum planning in art education 707 .1 WIS

1st Floor, Middestad Mall, Charl Malan Street

Bellville7530

Tel .: (021) 948-7504Fax: (021) 948-0748

E-mail: edulis@pgwc .gov .zaItems listed here may be borrowed by members of EDULIS


GLOSSARY OF SOME ART TERMS

Asymmetrical – the opposite of symmetrical (see symmetry) .

Colour dispersion – spreading the colour throughout the artwork .

Craftsmanship – refers to how well something is made . Emphasis is placed on technical skill rather than creativity .

Cross hatching – a way of creating various tones by repeating parallel, horizontal and vertical or diagonal lines that intersect each other at right angles .

Criss-cross – network of short lines crossing each other at various angles .

Curvilinear line – a line following the contour or curve .

Dominant hand – the hand with which you use to write and draw .

Expressive – an expressive artwork places more emphasis on the emotions and feelings of the artist rather than on accuracy and realism .

Form – this is the three-dimensional shape and structure of an object . See Elements of Art .

Format – the size (A4, A3, etc .) and area of the space (portrait, landscape, circular, etc .)

Hatching – lines running usually in one direction .

Intuitive – to depict something without reasoning, according to one's feelings (linked up with expressive artwork) .

Line – see Elements of Art .

Movement – see Principles of Art .

Mood – a state of mind or feeling .

Non-dominant hand – the hand we do not naturally use to draw and write .

Observation drawing – to draw whilst looking closely at a human figure, an animal or an object .

Pattern – this is created when a group of elements is repeated .


Portrait – an artwork that depicts the likeness of a person . Portraits usually show only the head and shoulders but they can also include the whole body .

Realism – an artwork that focusses on the accurate and precise rendering of subject matter .

Rhythm – see Principles of Art .

Scribble – lines drawn hurriedly in squiggles or loose figures of eight .

Shape – see Elements of Art .

Silhouette – the outline of an object or figure created by the absence of light within the figure and therefore without any detail .

Spontaneous – free, natural without any constraint, not pre-planned .

Stippling – a drawn or painted texture made up of tiny dots .

Symmetry – a design that is perfectly balanced . Elements on both sides of an imaginary centre line of a design is the same .

Texture – the surface feeling of an object . Creating texture is about making something look as it feels .

Three dimensional – having solidity and volume . Having length, breadth and height .

Tone – the degree of lightness or darkness .

Two dimensional – having length and breadth, a flat surface .

Documents

ADVENTURE INTO DRAWING - Western Cape · Drawing is a fundamental way of learning about the world and communicating knowledge . Learners ... most powerful forms of communication in