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A unit plan curriculum for 7th gradethat is scaffolded for understanding.
Dr. Kathy Unrath
Rationale
At the 7th grade level students are developmentally ready to learn to draw accurately
7th graders are entering the development stage of the “Crisis of Realism”
7th grade students must be supported with a scaffolded and structured approach to learning to draw as they are judging their work against professional artists.
Students need to be able to grow in their ability to draw at their own rate and with strong reinforcement and self-assessment
Students are encouraged to make choices and take risks as artists
Enduring Understanding Big Idea
The human figure in art represents our humanity
We can SEE ourselves in the figure,
We can SEE others across time and cultures through the figure
We can SEE and envision their lives, struggles, celebrations, culture and world through the representation of the figure.
Essential Questions:How do artists learn to
draw?
Learning to SEE is learning to drawHow do artists see their world?How do I empower my vision?How do I train my eyes to see to draw?
Artists have the POWER to make choices:How does my choice influence my artwork?How do my choices change the meaning?
What makes a good drawing? What qualities does it have?
Key Concepts (KNOW) Artists make choices of media and mark making tools
Media decisions influence the line and meaning
Artists choose point of view
Artists choose placement on picture plane
Artists choose paper size and color
Artists see carefully both holistically and in detail
Artists practice, take risks, and make mistakes
Artists concentrate on subjects with all of their energy
Artists give themselves to their work and persevere
Artists rely on their right brain perception and ignore the left brain critic
Objectives (DO) The students will create a baseline drawing to gauge growth
Students will draw gesture drawings of models in increasingly shorter timeframes and in different positions
Students will assess their gesture drawings daily and make qualitative judgments about the process
Students will draw objects and figures using a contour line.
Students will analyze and interpret figure drawings of artists like Michelangelo, Leonardo, Wyeth, and Matisse for line quality and subtlety.
Students will assess their progress by comparing base line drawing and make aesthetic judgments about their growth.
Lesson Sequence
1. Pre-test - Assessment of prior knowledge and expertise 1
2. Analysis of drawing PROCESS and Positions and Proportions 1
3-4.Experiencing the Whole -Gesture Drawing 2
5-9. Seeing Detail- Contour Line 5-6Hands, Shoes, figure, face, figures with faceDrawing 5 models for best 3 of 5 Figure exemplars Michelangelo, Picasso, Matisse
10. Portfolio Review and assessment 1
Assessing prior knowledge
Everyone begins at a different place.
Pre-test:
Students draw the “best person” they can draw on the first day.
It is used as evidence of growth and learning.
Post test
Pre-test
Post test from a very different beginning point
Our Motto!
Gesture Drawings
Capturing the position with speed and accuracy
Drawing for Positions and Proportion … Fast!
*** Self -Assessment for Accuracy
Contour Drawing beginning with our hands
Slowing down to see just the edge
Everyone’s line is different
Looking at the line of master artistsLike Matisse
Andrew Wyeth Drawings
Leonardo Drawings
Michelangelo Drawings
Drawing ModelsUsing a Contour Line
Artist make choices
Media Point of ViewSize of Work
Bonus Points forlooking very carefully
Evidence of Careful observation
Display student responses with the work
Challenge to draw from a more difficult point of view and permanent mark making tool. (Sharpie Pen)
Begin drawing with bonus points!
We value risk takers in art!
Challenging media: Conte Crayon
Challenging media and point of view!
Grease pencil
White charcoal pencil on black construction paper
Ball point pen
Personal and Peer Assessment of Portfolio
Prioritize Portfolio
Compare Pre-testTo Post Test
List areas of Improvement
Peer perspective
Can you see more clearly now?
Culminating ThoughtsCan students answer the essential investigative questions?
Can students discern the qualities of line quality and good drawings?
How were the students assessed along the way?
Why is it so important for student artists to be able to make choices?
Did students learn to SEE and perceive their world differently?
How was this unit plan of a series of lessons scaffolded to build on each other with different experiences and complexity?
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