Advanced Drawing & Painting - Course Description
This advanced college preparatory course builds on the objectives introduced in Drawing and Painting and is designed for students who wish to further develop their skills and techniques in the visual arts. Projects and exercises encourage students to incorporate meaningful ideas into their artwork as they continue to investigate traditional and contemporary concepts and techniques. Students create a body of work that is visually dynamic and expressive. In addition to other assignments, students are expected to create five sketches in their sketchbook for each term.
Prerequisite: Introduction to Art, Drawing/Painting I, Drawing/Painting II
Prerequisite: Introduction to Art, Drawing/Painting I, Drawing/Painting II
Semester Schedule
Self - Portrait Drawing Techniques
Assignment Overview: On a sheet of 12" x 18" drawing paper, students will draw their self-portrait utilizing a mirror (provided in class). This drawing will be done pre-instruction so that students can analyze their growth and progress after completion of the final self-portrait.
Assignment Overview: Students will practice drawing the eyes, ears, nose, mouth and hair after learning about how these features are structured and what to be mindful of when shading. Practice will be done in pencil on 12" x 18" white drawing paper.
Assignment Overview: Students will learn about how the human face is constructed and how to measure and draw the features of the face. We will then discuss how the face is made up of planes and how light hits these planes in different ways to create a variety of highlights, midtones and dark values. Understanding this planar structure will result in more realistically shaded portraits. Practice will be done in pencil on 12" x 18" white drawing paper.
- Portrait Pre-Assessment
Assignment Overview: On a sheet of 12" x 18" drawing paper, students will draw their self-portrait utilizing a mirror (provided in class). This drawing will be done pre-instruction so that students can analyze their growth and progress after completion of the final self-portrait.
- Eyes, Nose, Mouth, Hair and Ear Drawing Techniques
Assignment Overview: Students will practice drawing the eyes, ears, nose, mouth and hair after learning about how these features are structured and what to be mindful of when shading. Practice will be done in pencil on 12" x 18" white drawing paper.
- Facial Proportion and Shading Exercises
Assignment Overview: Students will learn about how the human face is constructed and how to measure and draw the features of the face. We will then discuss how the face is made up of planes and how light hits these planes in different ways to create a variety of highlights, midtones and dark values. Understanding this planar structure will result in more realistically shaded portraits. Practice will be done in pencil on 12" x 18" white drawing paper.
Temma E., Self-Portait Drawing, Spring 2015
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Final Self-Portrait Drawing Objective: Students will be able to complete their self-portrait demonstrating a knowledge of proper facial proportions and shading techniques. Assignment Overview: Students will draw their self-portrait using pencil on 18" x 24" paper. Students will create a representational self-portrait utilizing proper proportion and shading techniques. Following the final self-portrait drawing, students will compare and contrast their pre-assessment with their final drawing. They will be given a self-assessment to comment on their growth and development. |
Wordless News
Objectives: Students will be able to interpret words into an illustration that represents the concept the words convey. Students will be able to use watercolor paint to create an illustration that expresses a developed idea/concept in an original way.
Assignment Overview: We will be looking at the work of illustrator/designer Maria Fabrizio and discussing the ways she interprets a current news story into a single illustration that contains no words. We will discuss the ways she chooses key elements from the articles to develop an illustration that conveys a clear concept without the use of text. Students will find a contemporary news story (www.npr.org is a great resource, but you may use another) that interests them. The topic can be almost anything (from serious to more light-hearted), provided it's in a published article. Students will read their article and highlight the most important elements needed to convey the main ideas behind the article. They will sketch out how they can combine these elements to visually tell a story. When they have chosen their layout, they will create their illustration on a piece of 9" x 12" watercolor paper. Students should experiment with different textural elements and mixed media is a possible option.
Resources:
Objectives: Students will be able to interpret words into an illustration that represents the concept the words convey. Students will be able to use watercolor paint to create an illustration that expresses a developed idea/concept in an original way.
Assignment Overview: We will be looking at the work of illustrator/designer Maria Fabrizio and discussing the ways she interprets a current news story into a single illustration that contains no words. We will discuss the ways she chooses key elements from the articles to develop an illustration that conveys a clear concept without the use of text. Students will find a contemporary news story (www.npr.org is a great resource, but you may use another) that interests them. The topic can be almost anything (from serious to more light-hearted), provided it's in a published article. Students will read their article and highlight the most important elements needed to convey the main ideas behind the article. They will sketch out how they can combine these elements to visually tell a story. When they have chosen their layout, they will create their illustration on a piece of 9" x 12" watercolor paper. Students should experiment with different textural elements and mixed media is a possible option.
Resources:
- http://wordlessnews.com/
- http://www.npr.org/
Empowered Self-Portraits
Objectives: Through in class discussion, students will be able to verbally demonstrate their knowledge of how Kehinde Wiley is challenging traditional western portrait painting. Students will be able to verbally communicate their understanding of how pose communicates power and meaning. Students will be able to paint their self-portrait in acrylic paint on canvas, demonstrating proficiency with the materials.
Assignment Overview: Students will be introduced to the work of contemporary post-modern painter Kehinde Wiley. As a class, we will examine his work alongside the historical paintings they are referencing. We will discuss the positions of power and how the subject's poses reflect this power. We will discuss how Kehinde Wiley is both having a dialogue with, as well as criticizing, historical western portrait painting. The class will watch a video of Kehinde Wiley discussing his work and then answer discussion questions following the viewing. Students will then go through a series of art history books and choose their favorite painting that they would like to mimic the pose of. Students will photograph each other in these poses and then print out the images.
Some artists you can look to for the piece you'll be referencing are from the High Renaissance all the way to late French Rococo periods. Some examples of portraitists from these periods are:
Remember that you want to look for work that shows white, European men in positions of strength and power (much as Wiley does) because through your work you'll be critiquing that power role and taking it on for yourself.
Objectives: Through in class discussion, students will be able to verbally demonstrate their knowledge of how Kehinde Wiley is challenging traditional western portrait painting. Students will be able to verbally communicate their understanding of how pose communicates power and meaning. Students will be able to paint their self-portrait in acrylic paint on canvas, demonstrating proficiency with the materials.
Assignment Overview: Students will be introduced to the work of contemporary post-modern painter Kehinde Wiley. As a class, we will examine his work alongside the historical paintings they are referencing. We will discuss the positions of power and how the subject's poses reflect this power. We will discuss how Kehinde Wiley is both having a dialogue with, as well as criticizing, historical western portrait painting. The class will watch a video of Kehinde Wiley discussing his work and then answer discussion questions following the viewing. Students will then go through a series of art history books and choose their favorite painting that they would like to mimic the pose of. Students will photograph each other in these poses and then print out the images.
Some artists you can look to for the piece you'll be referencing are from the High Renaissance all the way to late French Rococo periods. Some examples of portraitists from these periods are:
- Lucas Cranach the Elder, Albrecht Durer, Hans Holbein, Thomas Gainsborough, Anthony van Dyck, Peter Paul Rubens, John Singer Sargeant, Jacques-Louis David, El Greco, Jan Vermeer, Goya and Rubens.
Remember that you want to look for work that shows white, European men in positions of strength and power (much as Wiley does) because through your work you'll be critiquing that power role and taking it on for yourself.
Left: Jacques-Louis David. Bonaparte Crossing the Alps at Grand-Saint-Bernard. Oil on Canvas. 1800-1.
Right: Kehinde Wiley. Napoleon Leading the Army Over the Alps. Oil on Canvas. 2005.
Right: Kehinde Wiley. Napoleon Leading the Army Over the Alps. Oil on Canvas. 2005.
Subtractive Drawing
Objectives: Students will be able to complete a still-life drawing working subtractively by pulling a minimum of 3 values out of the toned surface of the paper.
Assignment Overview:
Objectives: Students will be able to complete a still-life drawing working subtractively by pulling a minimum of 3 values out of the toned surface of the paper.
Assignment Overview:
- On the first day students will practice the technique of subtractive drawing with a smaller still-life on a smaller piece of paper. Students will receive a piece of 9" x 12" charcoal paper that they will tone by evenly covering the surface with vine charcoal.
- While examining the still-life, students will use a variety of erasers (white vinyl & kneaded) to pull out at least 3 values. By locating the tonal shifts, the still-life will begin to develop on the page. To create the darkest values, students can use charcoal pencil to go back into the drawing and add the darkest values - working in an additive manner.
Grading
If you miss one or more classes, you are responsible for speaking with Ms. Ruo about making up work. If you receive a grade you are unhappy with, you have 10 days to redo the assignment (from the date you received the graded rubric) and turn it in for a new grade. After the ten day “grace period”, the original grade will become final.
Grading Weights:
Important Grading Notes from the Student Handbook:
Grading Weights:
- Class Projects: 100% of grade
Important Grading Notes from the Student Handbook:
- Final Exams & Seniors: Students will take semester and final exams when scheduled to do so. Seniors may be exempt from the semester exams in January and May at the teachers’ discretion if the student achieved a minimum grade of an A- for the two quarters in the semester.
- Incompletes: A grade of Incomplete (I) will be given to a student who has unfinished course requirements because of extenuating factors such as protracted period(s) of illness. It is expected that the incomplete work be completed within ten (10) days after the close of a marking period; however, should a waiver be needed for extended time, the student should contact the Vice-Principal who will discuss the matter with the department head involved. If the work is not completed within the specified time (includes waiver where granted), the incomplete grade will become an F; otherwise the teacher will report a regular grade.
- Sports Eligibility: Natick High School requires that students receive a minimum passing grade of D- or above at the close of the marking period (end of each term) prior to the beginning of a season and during said season.
Classroom Guidelines
All students are expected to abide by all school rules as set forth in the student handbook. In addition, I expect each student to come to each and every class on time and prepared. This means you will come into the room, have a seat and wait for any daily announcements or project overview. All assignments will be completed by the day they are due. You will be expected to participate in class discussion, ask questions, and work collaboratively with your peers. I also request and expect that everyone show respect for each other. Tolerance is key not to mention that disrespect is rude and will not be tolerated. There are no headphones in the classroom.
General Guideline to Follow: RESPECT, RESPECT, RESPECT!!
How does that play out in the art room??
1. Respect each other!
Be positive, supportive and helpful. Listen to your peers when they speak in class - what they have to say is important! Only
ONE person should be talking at a time. The same rules apply to respecting the teacher. When the teacher is talking, no one
else should be talking. When the teacher is at the front of the room, it is to share important information about the lesson. You
will need to pay attention so you do not miss anything important and so your classmates can hear the teacher as well.
2. Respect the classroom!
We’re in a brand new building, let’s work together to keep it looking great! Put your materials away where they belong and
clean up any mess you make. This includes, washing brushes thoroughly and putting them away, rinsing out water cups,
washing palettes, picking up scraps of paper, wiping down tables and putting chairs back where they belong. No one leaves
until the room is clean!
3. Respect the art materials!
All the art classes share the materials. Let’s take care of them so that they are available for everyone’s use.
I try my best to make the classroom a SAFE SPACE for ALL students. Any intolerant language will be immediately addressed. Any second offenses will result in a teacher detention. This means no homophobic, sexist, racist or other type of hate speech will be tolerated. These types of speech are oppressive. If at any time someone makes you uncomfortable for any reason, please speak to me immediately.
General Guideline to Follow: RESPECT, RESPECT, RESPECT!!
How does that play out in the art room??
1. Respect each other!
Be positive, supportive and helpful. Listen to your peers when they speak in class - what they have to say is important! Only
ONE person should be talking at a time. The same rules apply to respecting the teacher. When the teacher is talking, no one
else should be talking. When the teacher is at the front of the room, it is to share important information about the lesson. You
will need to pay attention so you do not miss anything important and so your classmates can hear the teacher as well.
2. Respect the classroom!
We’re in a brand new building, let’s work together to keep it looking great! Put your materials away where they belong and
clean up any mess you make. This includes, washing brushes thoroughly and putting them away, rinsing out water cups,
washing palettes, picking up scraps of paper, wiping down tables and putting chairs back where they belong. No one leaves
until the room is clean!
3. Respect the art materials!
All the art classes share the materials. Let’s take care of them so that they are available for everyone’s use.
I try my best to make the classroom a SAFE SPACE for ALL students. Any intolerant language will be immediately addressed. Any second offenses will result in a teacher detention. This means no homophobic, sexist, racist or other type of hate speech will be tolerated. These types of speech are oppressive. If at any time someone makes you uncomfortable for any reason, please speak to me immediately.
