Katundra Stewart Representational Drawing

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Representational D rawing

A Resource to Promote Representational Art Making in the Art Curriculum


A cknowledgments

2

I would like to thank Kerry Vosler and her students as well as their parents at the Vosler Young Artists Studio for allowing me to conduct a case study regarding representational instruction for 21st century students. Due to your support I can provide beneficial evidence to other art educators who are interested in teaching their students how to draw.

Representational Drawing


Acknowledgments

TA B L E O F

CONTENTS

2 A Note to the Reader

4

My Stor y

5

Representational Drawing in Ar t Education

6

Benefits in Representational Drawing

8

Fundamentals in Representational Drawing

10

Curr iculum for Representational Drawing

12

My Final Thoughts

14

Students’ Wor k in Representational Drawing

15

Resources for Lear ning

16

3


A

N ote

to the Reader

The purpose of this article is to serve

profit art school, Vosler Young Artists’ Studio

as a resource to inform you, art educators,

(VYAS), where I conducted a case study. The

about utilizing representational drawing in

goal of my research at VYAS was to learn

your curriculum. I use Stankiewicz (2001)

the process and results of using a classical

and Kamhi and Torres (2008), which provide

approach to teach representational drawing to

an overview of what representational art is

21st century students. The study contributed

and its absence from today’s art education

to my understanding of how representational

curriculum. I then go on to discuss the

drawing can be taught to students who lack

benefits of representational drawing with

drawing skills, which I plan to use to improve

the help of Drake (2004), Edwards (2012),

my own teaching practice. I conclude the

Thomas and Quillian (2015), and Garner

article with resources that will help you and

and Van Meter (2005) who suggests that

your student develop your drawing skills

students can learn to draw representationally

using traditional drawing techniques.

with the use of perceptual skills and their learning in other disciplines can be enhanced through drawing. I offer evidence of how representational drawing is taught at a for-

4

Representational Drawing


My

S TO RY

As a middle school art educator, I worked

representational or observational drawing being

with students from different artistic backgrounds

taught in art education today? According to the art

but the majority shared the same lack of confidence

educators who replied, the two main reasons why

in their drawing skills. The students would say they

representational drawing is not being taught consist

were not talented in drawing, and due to that lack of

of the following: not having enough time to cover

talent, they could not draw. There was one student, a

drawing along with other media and techniques

six grader, who was very eager to learn how to draw

and the lack of students’ effort and patience.

and as a first year art educator I tried to figure out

When art students do not have knowledge in skill-

ways I could cater to her needs. I was challenged by

based drawing, they lose out on understanding

time and a lack of resources to create lessons plans

and

practicing

and my attempts were not as successful as I hoped.

After completing a case study at Southern

The student was not pleased with the results of her

Atelier, a school for fine art, during a graduate

drawing experience so she felt like art was a waste of

course on art education outside of schools I noticed

time. If I knew about resources such as lesson plans

how the adult students who couldn’t draw before

that cover skill-based (Da Vinci Initiative, 2014)

attending the school created realistic works of art

or representational drawing, I could have better

that exemplified knowledge in structure, shapes,

assisted the six-grade girl and her classmates who

angles, value, and more. I left the study wondering

shared her desire to render representational images.

why these drawing methods aren’t taught in

Skill-based art education in the form of

school-based settings to help teach the students

representational drawing is not being taught

how to draw. As a result I decided that conducting

much in the k-12 public art education system

a study at Vosler Young Artists’ Studio, which uses

today. To begin this study, I informally presented

the same methods to teach teens, might provide

the following question to an art teacher group

beneficial information to me and other art educators.

on an online discussion forum: Why isn’t

related

perceptual

skills.

5


Representational

D r aw i n g i n A r t E d u c a t i o n

Representational drawing in the

1800s. She explains how representational

classical style, which promotes skill, is no

drawing was first used in the classroom to

longer the primary subject matter in the

help the students observe, following the

school art curriculum like it was in the 1800s.

Massachusetts Drawing Act of 1870 and how

There are not many scholarly works regarding

it received more attention than other types

the reason, but Stankiewicz (2001) and

of drawing. Later, however the advocates of

Kamhi and Torres (2008) have some ideas.

child study like G. Stanley Hall encouraged

Stankiewicz (2001) provides an overview

art educators to recognize and celebrate the

of the different movements that have taken

creative impulses young children possessed

place in art and art education since the mid-

rather than teach them adult techniques. He and his followers were motivated to model art education more on the practices of the kindergarten than those of the atelier. When modern art appeared it greatly influenced art education in the first three decades of the twentieth century. Other art movements like contemporary art also had some influence on art education. For example, there are now art projects that consist of creating installation art based on cultural themes.

Figure 1. Cast drawing. Courtesy of Southern Atelier. 6

Representational Drawing


Figure 2. Plate drawing. Courtesy of Southern Atelier.

Kamhi and Torres (2008) focus on the

issue of the meaning and standards of what’s considered to be contemporary art. They believe that classical forms of painting and sculpture should be relevant and regarded as contemporary art because there are still artists working in these styles today. But instead, they suggest, sound art, performance art, and monumental digital dialogues have eclipsed traditional art forms in the contemporary art world and classroom. They go on to argue

Figure 3. Cast painting. Courtesy of Southern Atelier.

that scholars and teachers are ignoring the classical realist style of art and its creators.

7


Benefits

o f R e p r e s e n t a t i o n a l D raw i n g

Representational drawing provides

students who don’t draw well can improve

techniques that develop and enhance

by developing their perceptual skills,

skills like perception, problem solving,

which include perceiving edges, spaces,

and interdisciplinary learning. These

relationship, lights and shadows, and the

skills are helpful in 21st century learning.

gestalt. Students can use their developed

According to Edwards (2012) the training

perceptual skills in any career to solve

of perceptual skills “is the rock bottom

problems. Edwards (2012) gives an

ABC of drawing� (p. 17).

example of a designer who has a problem

Enhances Perceptual Skills

with agreeing to a job offer. The designer

Drake (2004) examined the

who has been practicing the perceptual

perceptual abilities possessed in students

drawing skills can solve the problem by

that can draw realistically. In her study,

using the learned skills. She can look

sixty-seven 6 to 13-year olds with a range

around and survey the whole situation and

of drawing skills where given the Block

be receptive to all information, positive or

Design Task testing the ability to segment a

negative.

complex form, a Group Embedded Figure

Enhances Interdisciplinary Learning

Test testing the ability to see hidden forms,

and an observational drawing task. The

Garner and Van Meter (2005) provide

outcome showed students who scored high

descriptions of drawing to learn. They

on drawing realism out performed those

focus on using the drawing strategy in

who scored low in drawing realism on both

biology and emphasize the process and

perceptual tasks.

benefits of it in the curriculum. Garner and

Van Meter (2005) go into more detail

8

Edwards (2012) believes that Representational Drawing

Thomas and Quillian (2015) and


regarding the usage of the strategy in other

generated drawing is and what it can

subjects not just biology.

achieve in the classroom. Learner-generated

drawing is a strategy in which learners

Thomas and Quillian (2015) argues the

importance of having visual representation

construct representative illustrations in

in the biology curriculum. They assert this

support of learning goals. An example was

to promote model-based reasoning, which

a teacher’s assessment of prior knowledge

is a type of problem solving that helps

in a high school science class. “The teacher

the investigation of complex concepts.

instructed students to draw what they would

For example a student can gain a better

see if they were looking at water through a

understanding of an anima’s anatomy through

super powerful microscope” (p. 294). The

the exploration of drawing. Later in the

scholars go on to provide insight into how

article the scholars offer a framework of

representative illustrations can improve

drawing-to-learn that explains drawing and

observational process by observing an object

the different reasons to use it in the biology

and then drawing it from memory. The benefit

classroom. For example students can use

of drawing is also explained in content areas

representational drawing to illustrate cells or

such as language arts. An example was

anatomical structures. For instance, “a highly

giving in which elementary students used

representational drawing of a wolf might

drawing in a compare and contrast lesson. The

be appropriate to a study of wolf behavior

students were giving a story-based homework

(where the stance and position of ears and tail

assignment where they had to draw a

is germane to the point)” (p. 5). The scholars

character both before and after a personality

then go on to say that drawing can motivate

change. “These drawing attributes suggest a

students to learn and make them self-aware of

belief that drawing should be used for more

their intellect. They conclude the framework

than memorization tasks” (p. 314). The

with some suggested practices educators

scholars conclude the article with a discussion

can use to teach drawing for model-based

about strategy instruction and how it might

reasoning in biology.

play a role in the effectiveness of the drawing

strategy.

Similarly, Garner and Van Meter

(2005) gives an account of what learner9


F

UNDAMENTALS

I N R E P R E S E N TAT I O N A L D R A W I N G

Observing the drawing lessons Vosler

through a semi-structure interview with Vosler.

instructed at VYAS and hearing about the

During that time she discussed the different

layout of her program during our semi-

techniques she utilizes in her instruction.

structure interview, I noticed that drawing is

Those techniques include the identification

a teachable skill. Vosler helps the student see

of lines and shapes, lights and shadows, and

what they need to see in order to draw and

forming the drawing through value. After

using gradual steps, she guides the student as

the interview and observing the instruction I

they convey the subject onto their drawing

realized drawing can be a teachable skill.

pads.

When I conducted semi-structure

The starting point for the students to

understand in learning how to draw is have

interviews with the students at least three out

the ability to see angles in their subject using

of the five stated they couldn’t draw well prior

a sighting tool, such as a skewer or a narrow

to their attendance at VYAS. The length of

knitting needle. One of the first lessons the

time the students attended Vosler’s program

younger students (elementary age) are taught

ranged from six months to about three years.

is the lesson of line direction. Vosler teaches

One of the students Kim, started out drawing

the students about horizontal, vertical, and

shapes that exhibit low value contrast and now

diagonal lines, along with the plumb line,

a year and a half later can draw from a plate

which is the true or the straight vertical path.

that exemplifies a developed understanding

This knowledge is then transferred to drawing

of contrast in value. I received more insight

shapes. Vosler stated, “I start them off with

on the process that helped Kim and her

basic shapes of nature like the sphere, the

classmates improve their drawing skill

cone, and the cylinder and place one single

10 Representational Drawing


Figure 5. Value scale.

Figure 4. Sphere drawing.

light source on the shape� (personal

During this lesson the student draws a circle

communication, January 24, 2016). Once the

and capture the highlights, half tones, and

student understands how to draw the shape

shadows. Vosler goes over the different levels

onto the drawing pad they are taught how to

with the student and have them to number the

see light and shadows.

tones. When the student understands how to

transform a flat shape into a form using the

Vosler stated, “ we immediately

teach them about core and casts shadows by

basic understanding of value, Vosler provides

examining how the light is shining on the

more insight. The student engages in another

object, what is interrupting the light, what is

exercise in which she makes a value scale,

creating a cast shadow, and what is creating

which is the tool that helps her see the tone

a core shadow� (personal communication,

of the subject she is drawing. The student

January 24, 2016). The student learns to

uses the value scale by lining up the subject

identify the line between the lights and the

to the closest tone she observes (see Figure

darks, which is the core shadow. One of the

4). Vosler explained that one of the biggest

first lessons that help the student understand

challenges for the student is to understand the

the lights and shadows is the sphere drawing.

value system. 11


C

URRICULUM

F O R R E P R E S E N TAT I O N A L D R A W I N G

As I observed Mrs. Vosler I noticed her

ability to differentiate the drawing activity for each student. She uses the Charles Bargue with the Collaboration of Jean-Leon Gerome: Drawing Course book to teach representational drawing. The drawing course is set-up in three sections that reflect what I saw at the atelier. The first section consists of plates drawn after casts, usually antique examples. Vosler has a great number of the plates copied and enlarged to help

Figure 6. Student working on a plate drawing.

assist the student. Different parts of the body

off on a plate drawing. The easiest or basic

are studied in the level of difficulty. The

level plate drawings are the facial features.

second section contains lithographs after

For instance, a new student who starts

exemplary drawings by Renaissance and

drawing can use a plate of the human eye.

modern masters. The third section contains

The plate of the eye is set-up in different

drawings after nude male models, which are

stages that shows the eye in different angles.

originals by master artists. I only noticed

Vosler stated the purpose of drawing from

the students draw from the first and second

the plates was to, “help the students slow

section as stated above and then proceed to

down and spend time looking, which in

drawing from a cast.

essence builds their observational skills as

Vosler recognizes the different levels of

well as understand the drawing process from

learning for her students. Instead of starting a

beginning to end� (personal communication,

new student on drawing a cast she starts him

January 17, 2016). When students finish one

12 Representational Drawing


Figure 7. Student working on a casts drawing.

Figure 8. Student working on a portrait drawing of me.

plate they move on to a more advanced plate

of the cast that the single light source reflect

that has fewer stages to draw from.

upon. The student can advance at this area

of drawing just like the plate drawings. The

When the student exemplifies her

skill in capturing the likeness of the subject

more detailed the cast is the more advanced

from the plate drawings, Vosler moves the

the drawing will be.

student on to cast drawings. By this point the student should understand how to use her drawing tools and see the angles, lines, and shapes when drawing. The student’s prior knowledge will help when she starts drawing the replica of a three-dimensional source. At this stage the student has the ability to grow in her skill to capture the light and shadows 13


My

Final Thoughts

When I assess the curriculum of

should consider the fact that students in their

classical representational drawing in the

classrooms desire the knowledge to draw.

context of contemporary art education I see

The data collected through semi-structured

that it doesn’t cover everything. The atelier

interviews and photographs of students

curriculum offers many skills but it doesn’t

learning to draw realistically reveals that 21st

offer lessons in identity, visual culture,

century students possess the willingness to

multicultural and intercultural, digital media,

learn a skill-based drawing practice. This

and creativity. The curriculum is focused

evidence is essential to the art educators

more on developing technical skills to get to

concerned that teaching skills will not be

the point of creating creative and individual

receptive by their students and shouldn’t be

work. Although the curriculum of plate and

taught. I believe students will be motivated

cast drawings don’t include the contemporary

when they see the results of their work.

issues stated above, you can create lessons centered on a cultural theme and through it introduce skill-based drawing exercises. Both practices I find to be important because the contemporary practice allows the student to relate the lesson to their life and the traditional practice equips them with transferable drawing skills that can help articulate what they want to express.

As I examine the significance of

21st century students learning a traditional drawing style I believe art educators today 14 Representational Drawing

Figure 9. Students working on plate drawings.


Figure 10. Student’s plate drawing of a foot.

Figure 11. Student’s plate drawing of a hand.

S TUDENTS’ WORK

I N R E P R E S E N TAT I O N A L D R AW I N G

Figure 12. Student’s plate drawing of a foot.

Figure 13. Student’s cast drawing.

Figure 14. Student’s portrait drawing.

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Figure 15. The Da Vinci Initiative workshop for art teachers.

R

of knowing and responding to a visual image

with the ateliers and how they practice

(“About The Da Vinci Initiative,”2014).

studying artistic principles that are found in

Edwards (2012) agrees: “…in time learning to

masterpieces. “The atelier model of training

draw will emerge as an equally vital skill, one

is designed to ensure that the artist develops

that provides equally transferrable powers of

the character and skill set needed to succeed

perception to guide and promote insight into

in the art world” (p.3). The Da Vinci Initiative

the meaning of visual and verbal information”

(2014) has the same belief and approach for

(p. xiv). She also believes along with the other

students; where they can learn about realist

two practitioners that anyone can learn how to

art skills that were implemented by Leonardo

draw.

da Vinci and Michelangelo. It is their goal to

provide skill-based learning in art education

believes that drawing can be quickly and easily

in order to deepen the understanding and

taught and learned, not strung out over years.

applications of visual literacy, the processes

Her approach to drawing is a different

EPRESENTATIONAL D R AW I N G R E S O U R C E S

Aristides (2006) discusses her affiliation

16 Representational Drawing

Unlike the others, Edwards (2012)


approach from Aristides (2006) and The Da

foundation, which provides resources that

Vinci Initiative, which practices a classical

are suitable for teachers as well as students

approach. Edwards’s work (2012) is primarily

including classroom resources, outreach

for individuals who cannot draw what they

programs, and professional development

perceive. She provides drawing exercises that

(“About The Da Vinci Initiative,” 2014).

trick the left hemisphere of the brain to allow

The classroom resources include a series of

the right side of the brain to take control; one

educational videos and k-12 lesson plans. The

of those tricks include drawing the subject

lesson plans are intended to train both the

matter upside down.

teacher and student about technical art skills.

Aristides (2006), The Da Vinci

Edwards (2012) provides drawing exercises

Initiative (2014), and Edwards (2012) share

through books that are available in bookstores

the goal of bringing drawing back to art

and libraries worldwide that can help a

education. In order to achieve that goal,

struggling student of any age learn to draw.

Aristides (2006) provides drawing exercises

She also offers five-day workshops where

in the classical style and provides examples of

she teaches her drawing techniques and sees

work from master artists. Other resources that

results by the end of the week. She also

are provided are nationally and internationally

provides a tool list that can be ordered to go

presented workshops. The Da Vinci Initiative

along with each of her drawing exercises.

is part of a 501c3 non-profit educational

Figure 16. Classical Drawing Atelier.

Figure 17. Drawing On the Right Side of the Brain.

Figure 18. The Da Vinci Initiative lesson plan.

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R

EFERENCES

Student’s portrait drawing of me,

About The Da Vinci Initiative. (2014). Retrieved from http://www.davinciinitiative.org/mission.html Aristides, J. (2006). Classical drawing atelier: a contemporary guide to traditional studio prac tice. New York, New York: Watson-Guptill. Drake, J. E. (2014). Knowing how to look predicts the ability to draw realistically. British Journal of Developmental Psychology, 32, 397-414. doi:10.1111/bjdp.12048 Edwards, B. (2012). Drawing on the right side of the brain: the definitive 4th edition. New York, New York: Penguin Group. Garner, J, & Van Meter, P. (2005). The promise and practice of learner-generated drawing: literature review and synthesis. Educational Psychology Review, 17(4), 85-325. Kamhi, M. M., & Torres, L. (2008). What about the other face of contemporary art? Art Educa tion, 61(2), 53-58. Quillin, K, & Stephen, T. (2015). Drawing-to-learn: a framework for using drawings to promote model-based reasoning in biology. Life Sciences Education, 14 (1), 1-16. Stankiewicz, M. A. (2001). Roots of art education practice. Worcester, Massachusetts: Davis.


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