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Drawing (Week One)

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Donal Ó Scannlain
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21 views

Drawing (Week One)

Uploaded by

Donal Ó Scannlain
Copyright
© © All Rights Reserved
Available Formats
Download as KEY, PDF, TXT or read online on Scribd
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VISUAL ARTS DRAMA

& THE ARTSDRAWING.

DR. MARY GRENNAN


DRAWING

“Drawing is an instinctive way for the child to


communicate understanding, feelings and
his/her imaginative life.” (NCCA, 1999, p. 6)

Drawing is a really important activity in helping


the child to understand the world around
them:
it is a type of primary research
a method of recording information
an expressive outlet.
DRAWING

Within the context of Visual Arts education drawing


holds particular importance. In addition to
participating a series of developmentally appropriate
lessons in the strand of Drawing, pupils will often
need to draw a rough sketch or plan for work they
intend to complete in:

Construction
Print
Fabric & Fibre
Clay
DRAWING IN THE CLASSROOM

Observational drawing

Still life composition


Portraits
Figure drawing
Aspects of the environment
Drawing from imagination
Preparatory sketches

Design for construction / clay model / fabric


DRAWING IN THE CLASSROOM

Drawing across the curriculum:

Drawing in response to music


Drawing in response to reading
Drawing to reflect on drama
Drawing to demonstrate/assess understanding
OBSERVATIONAL DRAWING

Observational Drawings, 6th Class Pupils


DRAWING FROM IMAGINATION

The Marriage of Grace Gifford and Joseph Mary Plunkett, 6th Class Pupil
PREPARATORY SKETCHES
PREPARATORY SKETCHES
RESPONSE TO MUSIC

A response to Carnival of the Animals, 6th Class Pupil


RESPONSE TO READING

A response to The Listeners, 6th Class Pupil


CHILDREN’S DRAWING

Creative and Mental Growth (Lowenfeld & Brittain, 1987)


CHILDREN’S DRAWING

In the senior primary classroom, most pupils will


have passed through the Schematic Stage:

during the Schematic Stage children tend to repeat


the same symbol again and again. They rely on a
definite way of portraying an object.
As they transition to The Stage of Dawning Realism
children will focus on developing an expertise in
art:

consider technique, skill development, an array of


materials… (working in unfamiliar materials can often
have a positive effect upon drawings and paintings)
THE STAGE OF DAWNING REALISM

The repetition of form (established schema) will


gradually disappear, and there should be a
development of new forms or shapes that are not
constantly repeated.
Children begin to depict their subjects from
multiple viewpoints
Children at this stage of development can
negatively compare themselves to their peers
Imitation and conformity must be discouraged:
encourage exploration of materials…
THE PSEUDO-NATURALISTIC STAGE

As they transition to the Pseudo-Naturalistic


Stage children typically:

incorporate movement, folds, areas of light and


dark into their artwork
place an increasing emphasis on the final product
become very critical of their own success: success
is determined by the level of realism achieved in
the drawing.
become frustrated
It is exceptionally important to encourage
students at this stage.
EXPERIMENTAL DRAWING

As children get older:

it can be difficult for them to let go of defined ideas about “getting


things right” when it comes to making art, particularly drawing
they can become increasingly critical of their drawings and can
sometimes make disparaging remarks about their own work or hide
their drawings from others
Therefore teachers need to design art-making experiences
that:

focus on process and not product


allow students to experiment, explore, and have fun with drawing and
mark making
allow students to appreciate the enormous variety of art-making
EXPERIMENTAL DRAWING

Edward Pencilhands
Drawing Gloves
EXPERIMENTAL DRAWING

Homemade mark-making tools


EXPERIMENTAL
DRAWING PRACTICAL TASKS .

EXPLORING A VARIETY OF EXPERIMENTAL DRAWING TOOLS AND TECHNIQUES


EXPERIMENTAL DRAWING

In breakout rooms, please complete the following


tasks:
1)

1) mark-makingpour some paint onto a flat surface: use


your homemade paintbrushes to explore the variety of
marks you can make. Try finding different ways to use each
implement. (Use only one or two brushes on each A4 page)
2) examine the marks madeconsider the variety of
textures and visual effects created by the different tools: do
they remind you of anything? Discuss with group
(10 minutes)
EXPERIMENTAL DRAWING

3a) observational drawing use a variety of your


homemade paintbrushes to draw an item in your room
from observation: examine the item carefully, and
consider the texture and visual effects created by each
tool…
or
3b) drawing from imagination use your
homemade paintbrushes to create a drawing from
imagination: this can be a landscape, cityscape, animal,
mythological creature etc.
(10 minutes)
EXPERIMENTAL DRAWING

Attach a marker to a broom handle


EXPERIMENTAL DRAWING

Blind drawing
EXPERIMENTAL DRAWING

Drawing with pipe-cleaners, string, or wool


EXPERIMENTAL DRAWING

Continuous line drawing


EXPERIMENTAL DRAWING

Drawing with scissors


EXPERIMENTAL
DRAWING PRACTICAL TASKS .

EXPLORING A VARIETY OF EXPERIMENTAL DRAWING TOOLS AND TECHNIQUES


EXPERIMENTAL DRAWING

In breakout rooms, please arrange yourselves in


alphabetical order by your given name and work in pairs.
Take it in turns completing the following portraiture
tasks:
1)

1) blind portraitUse a marker to draw the person opposite you,


but without looking at the paper. Place your marker on the paper
and then fix your eyes on your partner: whatever you do don’t
look down! (1 minute)
2) non-dominant blind portraitThis one is a real challenge;
draw your partner with your non-dominant hand, and without
looking at the paper! Place your marker on the page, fix your
eyes on your subject, and then draw! (2 minutes)
3)
EXPERIMENTAL DRAWING

3) continuous line portrait This exercise helps children


slow down their looking and then helps them coordinate
drawing with seeing. It develops observational drawing skills,
Continuous line drawings are made by keeping the pen or
pencil in contact with the paper for the duration of the
exercise, and by matching speed of looking with speed of
drawing. (4 minutes)
4) draw a portrait in string or with scissors Rather
than using a traditional drawing tool use either string or a
scissors as you would a marker
(3 minutes)
LOOKING &
RESPONDING
JULIE MEHRETU
CY TWOMBLY
WILLEM DE KOONING
JACKSON POLLOCK
TIM KNOWLES
JEAN DUBUFFET
PABLO PICASSO
DFT
KATIE ACHESON WOLFORD
DRAWING

Everyone can be taught how to draw.


Like riding a bicycle or reading, drawing is
a skill made up of various components.

Drawing on the Right Side of the Brain (Edwards, 1979)


TONAL DRAWING

The Visual Element of Tone refers to the lightness


or darkness of a colour.
TONAL DRAWING

Tone can be used:


to create a contrast of light and dark
to create the illusion of form
to create a dramatic or tranquil atmosphere
to create a sense of depth and distance
to create a rhythm or pattern within a
composition
TONAL RANGE
TONAL DRAWING

Methods of shading:

Hatching
Cross-hatching
Blending
Stippling
TONAL DRAWING

Inspired by the work of Jasper Johns, could you write your


initials / date of birth in a tonal composition?
TONAL DRAWING

Could you draw this scrunched up page?


TONAL DRAWING

Draw white objects focusing on tonal values


TONAL DRAWING

Draw a tonal half (self-) portrait

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