Rationale:

Teaching and learning and assessment strategies for a Drawing Class.

This drawing scheme is based on mark making through the observational

drawing of a still life, the remains of a meal. The students will examine
ordinary things from a different perspective, describing, investigating and
conveying the qualities of the still life through a series of drawings. Learning
through instruction, repetition and process is very important (Addison 2015)
as is developing familiarity with material that is presented in different ways
(Petty 2009a).
The approach taken in this scheme is a combination of the responsive and
activity based learning and the active and experiential based learning
identified in the didactic/heuristic continuum. Pg.28 (Addison 2015). As I have
little knowledge of the student pervious learning, starting with the responsive
and activity based strategy it will be possible to encourage the development
of a common experience and conversation, the creation of work and the
transfer of core skills. Once a rapport has been established it will be possible
to move towards the active and experiential approach to learning.
The scheme will be introduced by using a power point presentation of images
of drawings. Visual aids are important, as an old Chinese proverb says I hear
I forget; I see, I remember; I do, I understand. (Addison 2015). The images
show the different marks made by different artists.

In Blooms taxonomy he identified six levels within the cognitive domain,

knowledge, understanding, application, analysis, synthesis and evaluation. He
suggests that teachers ask questions relating to the different levels to
challenge the students.(Petty 2009b)
The use of questions is important to elicit answers from the students building
on their prior knowledge. By identifying the learning out comes in advance it is
then possible to use questions in a structured way to so that students can
explore the subject matter by constructing the own understanding. This is
based on or supported by the Constructivist Theory of learning.(Addison
2015) Learning is a social process requiring students to create and improve
personal understanding rather than acquire their own knowledge.
Asking questions such as, what is drawing? Students are asked to define
drawing. Why do we make drawings? Here students explain the different
reasons for and uses drawings have. What kinds of marks are used in the
drawing? Students are required to describe the drawings. These questions

help define the knowledge and comprehension that students have which
Bloom identifies as lower order questions. Asking students to compare and
contrast two drawings encourages the student to analyse the drawings, here
we move into what Bloom identifies as higher order questions.
Previously I would have asked the students questions on a hands up basis or
asked specific a student. A more considered approach is the 4Ps. Pose the
question, pause, giving the students time to consider their response, pounce,
selecting who will answer the question and then bounce the question from
student to student to encourage the development and expansion of ideas and
answers. (Gast)
By asking these types of questions helps establish the structure of information
and its meaning.(Petty 2009a)
The students are then asked to set up the still life. This enables them to take
ownership of the exercise. They have to take responsibility for the
composition taking into consideration the placement of objects, perspective,
distances between objects, overlapping, in front of, behind, higher, lower, and
the textures of objects.
This activity supports the requirement to include numeracy in the lesson, as
students are required to explore depth of field, perspective and measuring
with the eye to establish the distance between objects and how the objects
relate to each other. This is a group activity and the students have to come to
an agreement about the compensation.
This activity is supported by images of how different artists set out their still
lifes.

Again students are asked to compare the different types of still life
compositions.
Once the students have set up the still life composition
they then have to reevaluate the composition through a
viewfinder. Through the manipulation of the viewfinders
students find different perspectives in the still life and
develop an understanding of the part a viewfinder plays
in our every day life. Using the viewfinder would also help
SEN students focus on what they have to draw.
The students will create a series of still life drawings. They will be asked
experiment and manipulate the drawing tools to create as many different
types of marks, tones and textures and develop a language of drawing.(Petty
2009b)

Through drawing, the students will develop new skills, concepts and
techniques. It is important to ensure that students see the potential to use
drawing to inform and develop future work and that drawing can be used to
enhance the learning experience in other subjects. This strategy enables the
student to see the value of their learning.(Petty 2009a)
The first drawing will be done as they wish, draw as they normally draw. At
various stages they will be given obstacles and challenges, drawing with the
hand less used or drawing blind, with paper blocking the view of their drawing
so they have to draw while looking only at the still life. Some are drawn while
sitting and some while standing to encourage the access to learning through
visual and tactile thought (Addison 2015). The difference in standing and
sitting when drawing shows in the make making. The idea is to encourage the
students to hold the drawing tool in a different way from when they are writing
which is about control, holding the drawing tool as if they were buttering bread
and that only the tip of the pencil touches the paper. In this way the student
can manipulate the pencil to achieve different line/mark weights widths and
have greater freedom of movement. (Addison 2015).
Over the period to the Scheme the students will create drawings of different
sizes and time duration. Students will use pencil, biro, charcoal, erasers, soft
chalks, inks, ink and egg, wax pastels at different times through out the
scheme.
For students to succeed they must believe that they can do the work. (Petty
2009a) When presenting ideas and concepts it is important to break the tasks
down (task analysis) into smaller sequenced components.(Petty 2009b) When
tasks are broken down in to achievable parts then every student can
experience some success, this is very important for motivation to learn and in
the development of differentiated learning. (Addison 2015) Task analysis and
positive reinforcement are important for motivation and are based on the
Behavioural Theory. Specific positive reinforcement and praise for work done
is very important for learning and motivation.(Petty 2009b)

Through the introduction the work of other artists, William Scott, Morandi and
Thiebaud, the students can develop a cultural understanding and recognize
the position of the artists in the history of art. It is necessary for the student
to have a familiarity with the artistic conventions of a cultureto appreciate
and understand its material and visual artifacts. (Pg. 46)(Addison 2015) This
can be achieved through reading and writing about art and peer discussion
and linking the information to other subjects such as history and English.

The development of a visual time line that incorporates images from art
history and additional visual information gleaned from the students
knowledge of other subjects such as history, geography and English will
provide a context in which art was created, this can assist the students
construct a more detailed understanding of art history. (Petty 2009a) Develop
the practice of enquiry, students ask questions about the environmental,
social and political systems that existed at the time that the work was made
and how their work is influenced by the world around them.

Feedback and dialogue are very important for the learning and teaching
process.(Petty 2009a) It provides the students with the opportunity to
verbalize their understanding and learning and for the teacher to assess if the
student has grasped what is been taught. Students will be encouraged to
critically review their drawings through out the scheme. Here the higher order
questions identified by Bloom come in to play. (Petty 2009b) Students will be
asked to assess their drawings deciding which drawings were more
successful and why, and report on how the restrictions had an impact on their
drawings. At the end of the scheme students will be required to present one of
their drawing. This will be an opportunity for them to demonstrate their grasp
the new visual and drawing language.
The assessment rubric is divided in to four criteria, Drawing and Observation
30%, Technical skills and Experimentation 30%, Knowledge and
Understanding 30% and Attitude and Attendance 10%. The criterion relates to
the aims and learning outcomes and will track the progression of the students
work over the length of the scheme. It will not be norm-referenced.(Addison
2015)
There will be continuous assessment of the students work through out the
scheme, this is known as formative assessment(Addison 2015) which will
involve on-going feedback and advice. The assessment will look forward and
well as back. Looking forward will help the student develop their work by
identifying the steps needed to achieve the learning objectives.
Assessing what the students have learned will be done by examining the work
created and on how the students articulate and describe the work on
continuous bases. I would like to explore the possibility of including the
students in the assessment process that would help students understand their
own learning.(Addison 2015) The assessment will also help me as the teacher
evaluate the success of the scheme of work.

The strategies for classroom management are based on the Behavioural

Theory of learning.(Addison 2015) Establishing clear rules and the
consequences for breaking the rules, create a calm atmosphere and be
prepared. Provide clear cues when the class or new activity begins. Use
antecedent control by identifying or predetermine problem behaviours and
changing the situation before it has time to develop. Ensure that students who
are easily distracted are not working near a window or door and are situated
in front of the teacher. Positive feed back for good behaviours and effort in
working.

5th January 2015

Addison, N., Burgess, L. (2015) Learning to Teach Art and Design in the
secondary School, London New York: Routledge.
Gast, G. Effective Questioning and Classroom Talk [online], available:
[accessed 31st Dec 2014].
Petty, G. (2009a) Evidence-Based Teaching, A Practical Approach, 2nd
Edition ed., Cheltenham, UK: Nelson Thornes.
Petty, G. (2009b) Teaching Today, 4th Editioin ed., Chelteham, UK: Nelson
Thornes.

Questions for Still Life Drawing lesson

Points to cover
S1. What is drawing?
The artist makes a drawing.
Drawings are a collection of marks.
Drawing is a process.
Drawing is about looking, recording, remembering, explaining and imagining.
The artist choses where and what kind of marks go where.
A drawing is the end result of the processes above.
What is in a drawing? (Marks, lines etc.)
S2. Why do we make drawings?
Drawing used as a means of accurately recording and describing the
appearance of things carefully observed.
Drawing used as an investigative tool, an aid to understanding and explaining
a problem.
Drawing used to communicate and convey information, diagrams and
storyboards.
Drawing used to express personal responses to things seen, remembered or
imagined.
Drawing used for problem solving in the development of design ideas and
prototypes.
Drawing as an end in itself.
Drawing for fun
S3. How do we make a drawing?
Marks
With what? (Pencil, charcoal, sticks in the sand etc.)
Use hands, feet, mouth
S.4 A drawing is made up of marks
What types of marks are used? Hatch, side of pencil, continuous, short long
etc.)
S5. Paul Klee taking a line for a walk
Other types of line and marks
S6. Banksy
What type of line is this? How would describe it? Meandering, wiggly, not in a
hurry.
S7. Nominilli
Describe these lines. Are they drawn slowly? Why?
S8 Gometti
Describe the lines. Continuous line.
S9. Giorgio Morandi
What kind of marks? Compare the 2 drawings? What is similar/different?

Negative space usually in a drawing are drawn this si a positive space, what
is the opposite of positive space-Negative space.
If these arent drawn why do we see them?
Hatching
Where is the light coming from?
Composition, whats composition? How things are arranged on the page?
S10. Wayne Thiebaud
What kinds of marks are used?
What is the subject matter? Where is the light coming from?
Compare the composition between Morandi /Thiebuad?
How would you describe these lines?
Why are these ice creams not touching?
S11. Wayne Thiebaud
What type of marks? Where is the light coming from? How do you know?
S12. Wayne Thiebaud
What is the subject matter? Where is the light coming from? Composition
S13. Betty Gannon
What is the subject matter? Shapes, How are shapes defined? Which bit did
you see first, why, its a shape, Contrasted against the next shape, compare
and contrast
Range of tone
S14. John Shinners
What is the subject matter? What types of marks used? How does he indicate
the shape of the face/nose?
S15 Artist unknown
What kinds of marks are used here? Where is the light coming from?
S16. What is a still life?
A collection of objects. How do the objects relate to each other, clustered,
spread out, heights, distances between objects, overlapping, in front of,
behind, higher, lower.
We are going to set up 5 still lifes. How are we going to do that? Just dump
them on the table.
Here are a few examples to give you some ideas of what you could do.
S17 Czanne
Describe the composition.
S18 Compare William Scotts still to Czannes.
What is the difference? Number of objects and how do they relate to each
other.
Viewfinders
What is a VF? Where would you find them in daily life?
Camera, phone, mirror in car.
You are going to use viewfinder to frame your view of the still life.

Please research two of the Artists identified below, answering the questions.
Please complete a 5min drawing of a still life from your own table.
Consider
Composition; how the objects relate to each other, clustered, spread out,
distances between objects, overlapping, heights, in front of, behind, higher.
Light /dark/shadows/ tones, Perspective; distance and angle. Different line
weight heavy/light, thin, thick
Giorgio Morandi (1890-1964
Where is he from?
What other types of subject matter was Morandi
interested in?
http://www.art-is-fun.com/giorgio-morandi-still-life.html
https://www.youtube.com/watch?v=aUkktG0wzs4
Wayne Thiebaud
Where is he from?
What other types of subject matter is Thiebaud
interested in?
http://www.smithsonianmag.com/arts-culture/wayne-thiebaud-is-not-a-pop-artist57060/?no-ist
https://www.youtube.com/watch?v=vI_QJ5D9Qm8
Paul Czanne 1839-1906
Which Art Movement is Paul Czanne associated with?
http://www.paul-cezanne.org/
http://www.nationalgallery.org.uk/artists/paul-cezanne
William Scott 1913-1989
Where is he from? What other types of subject matter was Scott
interested in?
http://www.bbc.co.uk/arts/yourpaintings/artists/william-georgescott/paintings/slideshow#/10
http://williamscott.org/
http://www.imma.ie/en/page_19234.htm