Teaching Gesture Drawing

Gesture drawing can be fun experience for kids who enjoy working quickly and loosely, and a frustrating experience for kids who, like me, are very precise and neat in their method of creation.  Knowing that some students are going to be hesitant, or even resistant, to this method of drawing will help me in teaching it.  I would begin by giving all of my students a piece of paper and a regular pencil and tell them to draw me in 30 seconds.  Then, I would have them discuss what they were able to do during that time period with the utensil they had.  From here, I would ask what the students think the word "gesture" means, and then, based on that definition, what a gesture drawing may entail.  From here, I would introduce the 7 "L's" of gesture drawing, as provided by Gina Taylor:

Draw Loosely

Draw Lightly

Draw Lines of Action (like something tight or being tugged)

Draw Lines of Rhythm (like folds in cloth and leg movement)

Draw Long

Draw Large

Draw Lively

I would then show examples of student and my own drawings, such as these:

Then, I would hand out graphite crayons, or another larger drawing utensil, and ask the students to draw me again in 30 seconds, this time keeping in mind the 7 "L's". I would then have them discuss the differences between their drawing attempts. I would then have students take turns modeling for the class, lengthening the time allowed as we go. For example, I would have them do 5-10 more 30 second drawings to get in the hang of the motion and depending on class size, then 5 45 second drawings, and 1-5 1 minute drawings, depending on class size. From here, I would move into an extended gesture with colorful chalk pastels, using a projection of a model so that all of the students can participate. Again, I would show student and my own examples to encourage students of their own abilities.

Laying Down the Law

Although rules and expectations for an art classroom are necessary to maintain student safety,  preserve materials, equipment, and facilities, and generally keep the peace, it can be difficult to present and enforce all of them while also maintaining the image of the art room as a fun, inviting place.  This week in class, we discussed the topic of discipline and were tasked to create our own set of rules within groups.  We all agreed that some of the most important things to remember when creating rules and expectations in a classroom is to be very clear and positive. Each group came up with a similar set of simple but concise expectations, such as:

Respect: yourself, the materials, the facility, the teacher, and others

Be prepared: complete homework and bring appropriate supplies

Clean: your tables, the floor, and any materials you used

Challenge Yourself: think outside the box, try new things

Be Patient: good art takes time and practice

Some other expectations introduced by other groups were:

Make an effort

Follow all teacher directions and instructions

Help keep the classroom neat and organized

Speak quietly and only during free time

Keep in mind that everyone is an artist in their own way

Always give take and receive constructive criticism

This list is just for student behavior and interaction and it is already a lot to present to students.  However, I believe that enforcing these expectations will be easier when referencing back to the expectation of respect.  Cleaning and keeping the room organized falls under respecting materials and facility, following teacher directions respects the teacher, challenging yourself and being patient falls under respecting yourself, and speaking quietly, considering everyone an artist, and practicing constructive criticism all deal with respecting other students.

In regards to safety, there is a whole other set of guidelines to present and enforce.  There is the list of various equipment that must be used under teacher supervision (as provided by Gina Taylor):

Kiln

Clay Extruders

Slab Roller

Potter’s Wheel

Pugmill

Printing Press

Paper Cutters

Power Tools (drills, sander, saws, dremels, etc.)

Irons and Hot Plate

There are also a list of guidelines for use of tools and techniques, also provided by Gina Taylor:

Spray all fixatives outside.

Do not touch the kiln when it is hot (during firing cycle or cool down)

Use safety goggles and/or masks when sculpting or operating machinery.

Use bench hooks when working with linoleum or wood carving tools; remember to carve away from your body and hands, not toward yourself.

Tie back your hair, secure belts and apron ties, and remove jewelry when using power tools or potter’s wheel.

Use disposable gloves when using oil-based inks, stains, etc., that require solvents to clean.

Use caution with all sharp tools and electrical equipment.

DO NOT REMOVE SHARP TOOLS FROM THE ART ROOM!; An X-acto knife, used properly, is a ‘tool’ when it is in the art classroom, but it becomes a ‘potential weapon’ (and grounds for expulsion according to the school board’s ‘zero tolerance’ policy) if you take it out of the classroom.

INFORM THE TEACHER IF YOU OR A CLASSMATE IS INJURED OR YOU NOTICE A DANGEROUS SITUATION.

And, of course, displaying the information for the location of a fire extinguisher and the number of the school nurse are also vital to maintain classroom safety.  I would enforce these safety regulations by posting reminders about teacher supervision on or around the equipment listed above, and storing the tools, fixatives, and other materials mentioned in the above guidelines away from general student access.

Teaching Contour

Teenagers are hard on themselves.  They doubt their abilities and don't want to look incompetent in front of their peers.  So teaching them a method like contour drawing that is more than likely going to look wrong or weird the first time out is difficult.  But there are methods to not only teach the method of contour drawing, but to allow adolescent students to feel more comfortable while learning this method.

I would begin by using a powerpoint to explain the concept of a contour line, which would include not only professional examples, but also student examples and my own attempts at contour drawing.  Then, to loosen them up, I would ask them to do a series of blind contour drawings, or drawing the essential contour lines of a subject without looking at the paper or lifting their drawing utensil.  This would also aid in the switching of gears in the student's heads, which would allow them to better understand what a contour line is and how a contour drawing should look.  The subjects of these blind contours would be the students' hands and feet, which they are not only familiar with, but allows them to capture in a private way, not overtly displaying their efforts to their peers, which might make them feel uncomfortable.

              

 

From here, I would have the students do a series of modified contour drawings, which would allow them to look at their paper and lift their drawing utensil, but should still be heavily based on subject observation and not the appearance of the drawing on the paper.  Once the students have done the blind contour, they should have a grasp on what a contour is and how they should draw it.  The subject of these drawings would also be the students' hands and feet, to show the difference in the drawings and the progress of their thinking and drawing skills.

           

 

With the concept of contour down, I would have my students move on to an extended modified contour, which is what it sounds like: a modified contour drawing for a long period of time.  This would obviously require a more complex subject, such as a plant, a typewriter, or even a face.  With the drawings themselves complete, the students could then use them to make more advanced artwork by adding interesting colors and patterns, or by using a technique of soap resist to create a more dynamic look to the artwork.

           

 

This progression of techniques should not only provide an easy transition in the learning process of contour drawing, but it should also keep teenagers interested and engaged in the lesson, which is always the goal when teaching.  

First Day Preparation

There are many aspects involved in being prepared for the first day of teaching.  At this point in time, I find the thought of being prepared to face a room full of students by myself terrifying.  But I do feel like I logistically know what all to do to prepare myself and my art classroom for the first day of class.

My Responsibilites:

The Classroom: I am responsible for preparing the room for student use.  This includes stocking up on supplies, arranging the tables in a functional and inclusive way, and decorating to create an inviting, fun environment for the students.

Syllabi:  The dreaded document that details what's about to happen in my class, which has to be written and printed and read to my students.  It is up to me to plan lessons that are appropriate for the grade level and abilities of my classes, and to also make sure these lessons not only abide by appropriate standards, but are also fun and relatable to students' lives.  Although the task of going over the syllabi can be boring, part of my responsibility is to make it as tolerable as possible.  

Student Connection:  It's up to me to not only learn my students' names, but to find ways to connect with them and make them feel comfortable in my classroom.  I can do this by relating with them on their level, for example, incorporating popular culture references and playing ice breaker games that are fun and engaging.  I can also help my students feel more comfortable by allowing them to choose their own seats on the first day.  I can always make changes if problems arise, but giving the students that little bit of freedom in such a structured school day can help me gain their attention and trust.

Personal Preparation:

All of these things are logistic aspects of being ready for the first day of class.  However, I also have to prepare myself to interact with my students.  In terms of preparing the classroom, I can keep myself somewhat calm and de-stressed by asking for help.  Having someone else, or multiple people, aid me in preparing my room would not only allow the task to get done quicker, but also help me to save my energy for my other tasks.  As far as the syllabi, I can help myself out by starting the process of writing and organizing my lessons and policies far before the first day of class.  By giving myself plenty of time to prepare the room and the syllabi, I can prevent unnecessary stress.  If I can do this, I will have more patience and energy to interact with my students on the first day, which would allow me more opportunities to connect with them and start learning their names and personalities.  Most importantly, I need to remember to relax; that is what will help me through the first day.