Lesson Plan

Course Name

Title:________Charcoal Erasure Drawings _________________________ Drawing & Painting I

Length:_________One week__________________ 9-12

Grade Level

Enduring Understanding (s):

(Statements summarizing important idea(s) and core process(es) that are central to an art topic and have lasting value beyond the classroom. They synthesize what students should understandnot just know or do as a result of studying a particular area of art. Moreover, they articulate what students should revisit over the course of their lifetimes in relationship to art.)

Prepared Graduate Competency (ies):

(List, in bullet form, which Prepared Graduate Level Competency [ies] will be addressed in this lesson as it [they] relate [s] to the enduring understanding [s].)

Artists combine media, techniques, and processes to create works of art. The process of sharing and reflecting enables us to understand and appreciate our own art, and the art of others.

Recognize, compare, and affirm that the making and study of art and design can be approached from a variety of viewpoints, intelligences, and perspective Recognize, articulate, and implement critical thinking in the visual arts by synthesizing, evaluating, and analyzing visual information Use specific criteria to discuss and evaluate works of art

Objectives/Outcomes/Learning Targets: Student will be able to... (Measurable)

(Aligned to: Blooms-Standards-GLEs/ and, when appropriate, Numeracy, Literacy and Technology. Should be written as: Objective. Blooms: _____ - Standard: _____ - GLE: _____. Numeracy, Literacy, and/or Technology)

Students will be able to distinguish the qualities that make an art making process additive or reductive (Blooms: Understanding- Standard: Observe and learn to comprehend- GLE: Art has inherent characteristics and expressive features. Numeracy) Students will be able to list and explain the four steps of the critique process (Blooms: Remembering- Standard: Envision and critique to reflect GLE: Reflective strategies are used to understand the creative process. Literacy) Students will be able to create a charcoal drawing of a still life using reductive and additive techniques (Blooms: Creating- Standard: Invent and discover to create- GLE: Assess and produce art with various materials and methods. Technology)
Pre-Assessment: (Hint-Turn objectives into questions.)
(This will need to be done prior to teaching your lesson. Outline the method you will use to determine the skill/knowledge level of your students based on the concepts/objectives of the lesson. Be specific in describing what you would recognize as proficient skill/knowledge.

Can students distinguish the qualities that make an art making process additive or reductive? Can students list and explain the four steps of the critique process? Can students create a charcoal drawing of a still life using reductive and additive techniques?

Accommodations and modifications: (Explain specifically how you have addressed the needs of exceptional students at both end of the skill and cognitive scale.

Describe the strategies you will use for students who are already proficient and need growth beyond what you have planned for the rest of the class, as well as modifications for students with physical and/or cognitive challenges. Students must still meet the objectives.)

Students with cognitive disabilities will choose one of the items in the still life to draw subtractive. They will complete the oral critique with their para in a small group.
Vocabulary:
(List terms specific to the topic that students will be introduced to in the lesson.)

Additive Subtractive Ground Kneaded erasure Vine charcoal Compressed charcoal Contrast High value/low value Critique
Materials:
(Must be grade level appropriate. List everything you will need for this lesson, including art supplies and tools. (These are the materials students will use.) List all materials in a bulleted format.)

Drawing paper Vine charcoal Compressed charcoal Kneaded erasure Still life objects Lamps View finders
Resources:
(List all visual aids and reference material (books, slides, posters, etc.) Be specific; include title, artist, etc. Make reference to where the material can be found. (These are the resources used by the teacher to support/develop the lesson.) List all resources in a bulleted format.)

Google slide show to introduce reductive drawing can be found at https://docs.google.com/presentation/d/1z4jxbOEcJXqmcYKb9LlTzFXQg6tw7mhLIpmwV1VCne8/edit#slide=id.p

Preparation:
(What do you need to prepare for this experience? List steps of preparation in a bulleted format.)

Create critique notes Create slide show Set up still life Cut paper down to size Divide supplies Move tables and chairs around still life
Safety:
(Be specific about the safety procedures that need to be addressed with students. List all safety issue in a bulleted format.)

When the tables have been moved on the block day, there will be limited space around the room. Students will need to keep their belongings away from walkways and use caution when walking around the room.
Action to motivate/anticipatory set:
(Describe how you will begin the lesson to stimulate students interest. How will you pique their curiosity and make them interested and excited about the lesson? What inquiry questions will you pose? Be specific about what you will say and do to motivate students and get them thinking and ready to participate. Be aware of the varying range of learning styles/intelligences of your students. Some ideas might include: presenting a skit, telling a story, posing a series of questions, role-playing, etc.

On the first day of the lesson I will show a slide show to introduce reductive processes. At the end of the presentation I will explain the steps of reductive charcoal drawings. I will guide students through the process, distributing materials for each step and demonstrating at the front of the room.

Procedures: (Align with instructional methodologies and approximate times for instruction.)
Give a detailed account (in bulleted form) of how you will present the lesson logically and sequentially (include approximate time for each activity). Include motivation and ideation/inquiry where appropriate.)

Day 1: Monday

Presentation and discussion on reductive vs. additive processes Reductive means taking materials away, while additive means adding material to create something Slide showing a blank canvass, Jackson Pollock dripping paint onto a canvass, and a finished Pollock work- to illustrate and additive process Slide showing a solid block of marble, someone chipping marble away, and an image of Winged Victory of Samothrace- to illustrate a reductive process Slide showing three examples of artworks which were created using both additive and reductive processes- a quilt, and piece of pottery, and a graffiti painting created with a stencil. How could we possibly draw reductively? We draw with the erasure, but first we have to lay a ground and cover our whole paper in a drawing material like charcoal.

 The ground is a middle grey- so any lighter values are drawing in with the erasure, and darker values are added with charcoal. Drawings are typically a little loser than other types of drawings, but have rich values Practice drawings The last slide in the presentation has a black and white photo of a coffee cup. Students will practice the new drawing technique in their sketchbooks, using this photo as a reference. I will give a piece of vine charcoal to each student and demonstrate how to use the flat side to cover my paper in a layer of charcoal. Students will have a minute or so to complete this step Next I will give everyone a kneaded erasure. I will instruct students to start looking for the highest values in the photo and to start blocking those shapes out with the erasure. There is no need to worry about fine details, just get the general shapes of those high values. Once everyone has completed that step I will pass out pieces of compressed charcoal. This charcoal is a lit darker than the pieces we used for the ground, so we can use them to block in out low values. Once again, dont worry about details or getting gradual value changes, just map out the low values. After students have put in general shapes of low and high values, they will have the rest of class to keep working back and forth with the erasure and charcoal to add fine details and middle values to their drawings. A few minutes before the end of class I will ask students to return their materials to the appropriate places (make sure they can tell the difference between the vine and compressed charcoal)
Day 2: Block Day

Still life drawing At the start of class, still life will be set up in the center of the room. I will ask for students assistance in moving tables and chairs around the still life, so everyone can have room to work, and a good view of the objects. When everyone has a seat with their sketchbooks I will pass around viewfinders. Students will have 15 minutes to draw three thumbnail sketches of the still life. They must include at least three objects, but have complete control over their compositions. Once 15 minutes is up, or everyone has three thumbnails, students will form pairs to decide which compositions they will be drawing for the rest of class. When everyone has a plan for their drawings we will begin by passing around drawing paper and vine charcoal. We will briefly discuss the steps in the reductive drawing process. Students will begin laying their grounds, reverencing value scales in their sketchbooks to ensure they create middle grey. Next everyone will get a kneaded erasure and a piece of compressed charcoal I will instruct students to work on erasing our areas of high value for the next ten minutes. Remind them they are not creating a contour line drawing, we are just blocking in big shapes. Then they will work on blocking in the low values with their compressed charcoal for another ten minutes When they have their high and low values blocked in, they will have the rest of class to work on their drawings with the erasure and charcoal. They should be including 3 objects, as well as a wide range of values. I will be walking around the room giving individual instruction and advice. About 3 minutes into their drawings we will stop and do a quick gallery-walk. Students should be paying close attention to how their

classmates are working with the new techniques. What are they doing well? What could they improve? Do you see any good examples of the same objects you are drawing? What good ideas can you steal form your peers? After the gallery walk we will talk about what we saw as a group. I will ask students to set a couple of goals for their drawings. They will have the rest of class to work A few minutes before the end of class students will be asked to put their materials in the appropriate places, and put their drawings away Classes at the end of the day will be asked to move the tables back to their normal positions.

Day 3: Friday

Introduction to four part critique structure For the first part of class I will ask students to take notes on the critique structure I will write the name of each steps on the board along with some main points.
1. Describe- Tell what you see Pretend you are describing it to someone over the phone. Go into detail so they would be able to picture it perfectly Describe the media (what is is made of) List all the objects (people, buildings, trees, mountains, animals, ect) What do you notice about the piece when you first look at it? What's the overall visual effect of the piece? 2. Analyze- Separate all the different art elements in the piece. Decide which ones are the most significant and why. Describe how the artist used the elements. Think about things like- Line, color, texture, shape, form, value, size, balance, contrast, rhythm, ect If you get stuck try to fill in the blanks in- The _______ in this piece is/are ______ o ie: The colors in this piece are all warm. or There is a wide range in value in this piece How are the elements working together? o ie: The artist used a pattern of thick and thin lines to create rhythm. 3. Interpretation- Explain the meaning of the artwork based on what you have seen. What do you think the artist was trying to say? What does this mean to you? How does this relate to your life? What feelings do you have when looking at this work of art? Why did the artist create this work? Do you think there are things in this piece that are meant to be symbols/ represent other things or ideas? 4. Judgment- This is your personal judgment on if this piece is working or not. You also need to explain how you came to this conclusion Do you think this work has value or worth? o Is it beautiful? Does it convey a strong message? Does it make you see the world differently? Does it make interesting connections? What effect do you think this piece would have on other people? Did the artist use the elements of art successfully? How could the piece be improved? Is it not terrible, but not great? Is it just O.K.? What are you basing your opinion on?

Once we have the big picture notes down, we will practice each step one by one. Students will find their drawings and sit back at their tables with a partner. They will decide who is partner A and who is partner B Partner A will have about 2 minutes to complete the Describe step. They will describe their own piece out loud to their partner. I will walk around to each pair encouraging and answering questions Once have of the students have completed the first step we will switch to partner B We will keep alternating like this, briefly reviewing each step as we go. If there is time left over we will put up a drawing from another class and work together as a group to critique it using those same steps.
Student reflective/inquiry activity:
(Sample questions and activities [i.e. games, gallery walk, artist statement, interview] intended to promote deeper thinking, reflection and refined understandings precisely related to the grade level expectations. How will students reflect on their learning? A participatory activity that includes students in finding meaning, inquiring about materials and techniques and reflecting about their experience as it relates to objectives, standards and grade level expectations of the lesson.)

Because students critiqued their own work on the last day, that was meant to serve as a reflective activity as well as an introduction to the critique process. Students had to spend time analyzing their work, and ultimately judge it.
Post-Assessment (teacher-centered/objectives as questions):
(Have students achieved the objectives and grade level expectations specified in your lesson plan?)

Post-Assessment Instrument:
(How well have students achieved the objectives and grade level expectations specified in your lesson plan? Rubric, checklist, rating scale, etc.)

Did students distinguish the qualities that make an art making process additive or reductive? Did students list and explain the four steps of the critique process? Did students create a charcoal drawing of a still life using reductive and additive techniques?
Self-Reflection:

Students will be given a score out of 15 based on a simple checklist 5 points for including 3 objects from the still life 5 points for including a wide range of value 5 points participating in the critique

After the lesson is concluded write a brief reflection of what went well, what surprised you, and what you would do differently. Specifically address: (1) To what extent were lesson objectives achieved? (Utilize assessment data to justify your level of achievement.) (2) What changes, omissions, or additions to the lesson would you make if you were to teach again? (3)What do you envision for the next lesson? (Continued practice, reteach content, etc.)

Almost every student successfully met all of my objectives for this lesson. We played a kinetic game to assess their understanding go reductive processes and by the end of each class everyone seemed to clearly understand the distinction. Every student who was present on the block day completed a drawing, and participated in the critique. I think my assessment tools could have been much more effective at determining to what

degree the objectives were met. I think my students would have been helped by more complex objectives that focused on specific skills. Because this was my first lesson I was unsure about what kind of drawing background the students had. Seeing now that they did have a strong foundation of skills, I think I could have given a lot more instruction on how to make the drawings a little bit more personal and interesting. In terms of the critique portion of the lesson, I think I could have presented the information in a better way. I basically just lectured with a little bit of question and discussion from the class. I think it would be a lot more beneficial if they had to do some investigation on their own. I think If I teach this project again it would not be in this same unit. I think It is a good introduction to a different type of drawing process, but there could have been a better opening to this unit. I think it would be mor ebenificial in a serious of lessons specifically focused on drawing skills.