1. Grade 7/8/9 Unit 1: Drawing 2015

2. CURRICULAR OBJECTIVES Art 10: Subject matter and expressive intention can be depicted with a variety if notational marks The expressive content of drawings is affected by the drawing medium selected. Colour and value concepts are important components of an artists compositional skill.

3. CURRICULAR OBJECTIVES Art 20: Developing expertise in one particular drawing medium may further develop personal competence. Sketching and composing skills can be developed by drawing from representational sources. Understanding styles or artistic movements related to visual studies is part of developing critical abilities.

4. CURRICULAR OBJECTIVES Art 30: A repertoire of drawing techniques is needed to express visual ideas Explorations of technical or creative nature may lead individuals into highly personalized work sessions.

5. LESSON TIMELINE  Part 1: The brain. (10 minutes)  Part 2: Charcoal lesson: 20 minutes  Part 3:Value Scale: 40 Minutes  Part 4: Reductive charcoal drawing ( 7 classes)  Part 5: Why? (20 minutes)

6. Negative Space : shapes or spaces that are or represent the areas unoccupied by objects. Nonobjective : having no recognizable object or subject. Proportion : the scale relationships of one part to the whole and of one part to another. In images of figures, the appropriate balance between the size of body and limbs. Subtractive/ Reductive : Artistic method accomplished by removing or taking away from the original creative material VOCABULARY

7. PART 1: YOUR BRAIN And how it works for art

9. Betty Edwards has used the terms L- Mode and R-Mode to designate two ways of knowing and seeing - the verbal, analytic mode and the visual, perceptual mode - no matter where they are located in the individual brain. You are probably aware of these different characteristics. L-mode is a step-by-step style of thinking, using words, numbers and other symbols. L- mode strings things out in sequences, like words in a sentence. R-mode on the other hand, uses visual information and processes, not step-by-step, but all at once, like recognizing the face of a friend.

10. Most activities require both modes, each contributing its special functions, but a few activities require mainly one mode, without interference from the other. Drawing is one of these activities.

11. Learning to draw, then, turns out not to be "learning to draw." Paradoxically, "learning to draw" means learning to make a mental shift from L- mode to R-mode. That is what a person trained in drawing does, and that is what you can learn.

12. Once learned, drawing can be used to record what you see either in reality or in your mind's eye, in a manner not totally unlike the way we can record our thoughts and ideas in words. Many 20th century abstract painters who appear to draw and paint in a completely random fashion, had to learn to draw realistically before they were able to make the shift into abstract painting. Picasso, Willem de Kooning, Matisse, Mondrian and Jackson Pollock are a few examples of great abstract painters who first learnt to draw realistically.

13. The Old Fisherman (1895) Portrait de l'homme à l'épée et à la fleur (1969) PABLO PICASSO

14. JACKSON POLLOCK Jackson Pollock (American, 1912–1956) Landscape with Steer No. 5, 1948 (sold for $165.4 million)

15. HENRI MATISSE Still Life with Books and Candle

16. Part 2: Drawing With Charcoal: Tips And Drawing Techniques

17. Charcoal is the classical medium in the art of drawing. Amateur artists seem to prefer pencil or pen drawing which is quicker and easier to learn than drawing with charcoal. However charcoal is probably the most simple and cheap and durable black and white medium with the most fascinating potential in expression and variation. INTRO

18. Charcoal is organic carbon and therefore something different than graphite material. Charcoal is produced from heated wood under the exclusion of oxygen. What remains in the process is more or less pure carbon. WHAT IS CHARCOAL AND WHAT ARE THE SPECIFIC PROPERTIES AND ADVANTAGES AS DRAWING MEDIUM ?

19. You can get charcoal as pressed stalk charcoal pieces or so called artists charcoal. The charcoal pieces can be obtained in different sizes, lengths and diameters and in different hardness. The charcoal pieces tend to break easily therefore it is convenient to break the charcoal into smaller pieces already before starting the drawing and to use shorter pieces. The carbon powder is also offered in compressed form in other drawing tools like pressed pieces or in form of carbon pencils which can be handled similar to graphite pencils.

20. 1. you can create shades of black in endless variations and gradations 2. the charcoal powder will change its appearance depending on the paper you use. On papers with some "tooth" i.e. open and irregular surface one can create wonderful, subtle structures and values in light and dark 3. it is possible to draw very quickly with charcoal too, so it is a very good medium for quick sketches 4. charcoal allows to work in small and very big formats 5. charcoal is very durable, there is almost no aging or fading effect on the black of charcoal works. THE OUTSTANDING PROPERTIES OF CHARCOAL ARE:

21. Natural charcoal sticks are my favorite charcoal medium in combination with soft kneaded erasers and a soft cotton towl (or a chamois) to wipe out wrong lines if necessary. Charcoal pencils tend to break when you want to sharpen them. In order to sharpen a charcoal pencil you need to use an exacto knife. CHARCOAL AND KNEADED ERASERS THE BASIC DRAWING TOOLS

22. POWDERED CHARCOAL Powdered charcoal is used to: create tonal values usually over larger surfaces easily erases and can be darkened by adding layers.

23. COMPRESSED CHARCOAL Powdered with gum binder round or square sticks charcoal pencils.

24. VINE CHARCOAL * Vine charcoal is willow or linden/Tilia twigs burnt into: soft medium hard consistencies

25. PURE CHARCOAL Very soft Very dark tones Very messy!

26. ACCESSORIES Kneaded eraser Blending stump Sandpaper block Kneaded Erasers Tortillons Sandpaper block

27. 15 th Century (1400-1500 A. D.) Raphael, 1507

28. 16 th Century (1500-1600 A. D.) Michelangelo, 1528

29. 17 th to 18 th Centuries (1600 – 1700’s A. D.) Peter Paul Rubens, 1610

30. Romanticists and Impressionists Goya, 1795

31. ROMANTIC 18 TH AND 19 TH CENTURIES Delacroix, 1821

32. IMPRESSIONIST 19 TH CENTURY Gaugin, circa 1890

33. REDUCTIVE CHARCOAL TIME LAPSE

34. PART 3:BEFORE WE GET STARTED CREATE YOUR OWN VALUE SCALE

35. PART 4: ASSIGNMENT: REDUCTIVE CHARCOAL DRAWING

36. 5-Excellent4- Above Average3- Average2-Satisfactory1- PoorMark Detail/ Accuracy The final drawing is exceptionally accurate to the reference and shows attention to detail. The artist was able to expertly portray the size and proportion of the reference through observation. They achieved the correct values. They drew what they see- not what they think they see. The final drawing is very accurate to the reference and shows attention to detail. The artist was able to proficiently portray size and proportion through observation. The values are mostly correct. They drew what they see- not what they think they see. The final drawing is fairly accurate to the reference and shows some attention to detail. Some areas show a better accuracy to observation and attention to detail than other areas. Some of the size and proportion is off. Some of the values used are off. The final drawing is lacking in detail and/or accuracy to observation. The drawing is lacking in size and proportion as well as value. The final piece has little to no detail and/or there is no accuracy to observation. Proportions and size is off. The drawing has very minimal changes in values. /10 Method/ Tools The student followed the methods that they were told to use for this project (general to specific as well as reductive method) The student used a wide variety of charcoal tools available for them. The student mostly followed the methods that they were told to use for this project. The student used most of the charcoal tools available for them. The student loosely followed the methods that they were told to use for this project. The student used half of the charcoal tools available for them. The student used one of the methods that they were told to use for this project. The student used a couple of the charcoal tools available for them. The student did not use the right method for this drawing nor did they use the right tools. /2.5 Craftsmanship There are no unintentional smudges, fingerprints, rips, etc. Student included their name on their work. There are barely any unintentional smudges, fingerprints, rips, etc. Student included their name on their work. There are minor unintentional smudges, fingerprints, rips, etc. Student included their name on their work. There are noticeable unintentional smudges, fingerprints, rips, etc. The viewer can see a lot of pencil. Student did not include their name on their work The piece is incomplete or unresolved. The viewer can clearly see pencil marks. There are unintentional smudges, fingerprints, and rips that take away from the piece. No name on the work. /2.5

37. GETTING STARTED Clear drawing surface Layout paper horizontal for landscape viewpoint or vertical for portrait viewpoint Have drawing supplies ready Charcoal, kneaded eraser, tortillons (blend stick) Paper towels may be used for blending large areas

38. PART5 Upside down drawing Learning to draw what you see! A visual exercise for building observation skills.

39. Some of you are probably wondering….Why did I make you do that?

40. -Create a shift from left to right brain activity by drawing a picture upside down. -Learn to see lines in relationship to each other, rather than as preconceived shapes. -Develop observational skills -Have fun with drawing WHY UPSIDE DOWN DRAWING?

41. -Familiar things do not look the same upside down. -Our left brain expects to see things oriented in the costmary way – with the right side up -In upright orientation, we recognize familiar things, name them, and categorize them by matching what we see with out story memories and concepts. -When an image is upside down, the visual cues don’t match. We see the shapes and the areas of light and shadow. We see lines instead of real objects. -You start to think like an artist.

42. The purpose of this kind of practice is to force your left (thinking) side of the brain to give up identifying what you draw. So, even if you have a little voice that tells you the name of features or things, - ignore it! Instead, focus on a specific line and concentrate on its direction and where it lies in relation to the lines around it.