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A learning experience in art reflecting the Learning Standards For the Arts
Art Education
New York State Education Department

Introducing Value in Drawing: An Introduction to Light and Shade.
Commencement General Education, grade 9-12-Mixed Ability Levels.
Page under construction 11/99
Ellen Haffar, Robert vonHunke, Art Teachers
Fayetteville Manlius High School
Manlius, New York 13104

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Perceiving Value and Its Role in Learning How To Draw: Creating a Drawing Reflecting the Full Range Of Values (Lightest=White to the Darkest=Black).
A Secondary Level, Art room studio project,
involving Studio in Art Foundation classes, mixed ability levels in the learning experience.

Arts Standard 1: Creating and Performing.

(a,b). create a drawing incorporating full range of values, and develop skill with variety of drawing tools by drawing on variety of papers including white, middle value, and black construction paper. Drawing tools include range of pencil hardness from 2h, 2b, and ebony graphite, to soft charcoal.
Performance indicators, commencement general: students will develop an idea, research and analyze various means for expressing the idea, select appropriate material, and complete the work based on their observations, analysis, and applied imagination.

(c). demonstrate an awareness and understanding of value in separating shapes, representing a light source, and revealing implied surface qualities of an object (or several objects) drawn from life in relation to the representational drawing process.
Performance indicators: students will work toward goal of create drawings that build on student awareness of perspective and proportion while applying skills at shading the subject in their drawing to separate shapes, and render form and texture of selected subject matter.

(d). reflect on the work in progress by developing strategies for manipulating drawing tool to be able to reveal shape and form, reflecting an awareness of texture and light, by their drawing method.
Performance indicator, commencement general: students are willing to test alternative techniques and methods in drawing and shading to represent subtle variations in texture, form and shape. These Art Elements are revealed by the artists treatment of theme and subject matter.

(a). make choices selecting drawing materials (drawing surfaces - various kinds of paper), appropriate drawing tools (pencil, conte, charcoal, etc.), depending on subject matter chosen from art studio resource material (still life, figure, art reproduction, photograph). Depending on student initial ability level, we have found it by far simpler to limit choices of materials, focus attention on representational/perceptual/process skills.
Performance indicators, commencement general: students will complete a practice piece in at least two mediums to expore the process; comparing and contrasting qualities of each medium.

(b). start with simple form - a box, can, ball, or egg. A rectilinear form such as a box is a good beginning. Students can readily see separate values on each surface plane and successfully represent them in the drawing. Then move to objects that are cylindrical and spherical where skill at drawing a continuous tone is required.
Performance indicators: students will transfer knowledge of differences in value range within an object, and beteen objects, and value reange of space around an object to their drawing of that object/space relationship with shading.

(c). invite guest artist who may be an advanced art student or art teacher colleague who shares her/his passion for drawing with students, or share with students examples we have made. In Central New York the Everson Museum of Art, Harrison Street, Syracuse, has several fine examples in their collection, usually displayed in the permanent collection.
Performance indicators: students will complete a library, laserdisk, art reference book, and/or WWW internet search and locate fine historical and contemporary examples of value studies in the world.

(d). in the Studio in Art Foundations course here at FM learning over time scaffolds from introductory learning to see, working with the formalist elements of Line and Shape, and Space. The emphasis on Value introduces and emphasizes representation of implied texture, and form through a value studies project. Color is also introduced as value at this time.

Arts Standard 3: Responding and Analyzing Works of Art.

(a). investigate range of themes and subjects expressed in value studies by reading and discussing artists interpretations found in reference books and the internet.

(b). explain why it is important to be able to perceive value as it contributes to understanding of light and shade; applied visual and sensory qualities in their art. Students will also be able to explain the relationship to other artists work and the emotional impact value can have in a drawing.

(c). analyze and interpret the political, cultural, and social concepts and themes as a result of the use of value and drawing technique in art.

(d). develop connections between ways ideas and concepts evolved from decorative concerns of studio tradition, to fine art concerns represented in a museum tradition.
Performance indicators: students written research of a artist's example.

(a). analyze work by different artists from various time periods between the 17th and 20th Century, and describe the ideas that the works convey and the events the works communicate about the culture and time period.

(b). examine genre themes from early American art and place them in a similar chronology and context.

(c). working from an art reproduction found in library reference books, students will create a drawing, from life, that reflect an awareness of various drawing techniques in rendering value in drawing.
Performance indicator: student work will reflect knowledge and understanding of technique as it relates to expression. Compare graphite line work of Kathe Kollwitz with Philip Pealstein.

(a). begin with a discussion of differences in still life drawing technique between artists of various time periods, in Western and non Western cultures from the same time period, and today. In doing so students are laying groundwork for understanding the technical and expressive range of drawing.(b). using reference works such as library books and other resources, identify perceptual as well as technical considerations of the drawing process and artists perceptions of the subjects represented in the art work.

(a). facilitate this discussion.

(b). introduce and define new vocabulary.

(c). demonstrate using charcoal and graphite, an approach to drawing that encourages students to visually represent objects in spatial relationships, defined by the use of value.

(d). review the concept of perspective and the artist's eye in establishing a interesting view point.

(e). manipulate the light source to express dramatic mood and space.

(a). select a still life arrangement or object to work from.

(b). visualize a interesting composition - arrangement of shapes - by a series of thumbnail sketches.

(a). choose appropriate range of still life objects for student selections.

(b). limit students to objects from life, having a range of surface qualities and shapes

(c). encouraging students to be creative in problem solving what they can't see in the picture of the rest of the form.

(d). demonstrate basic carving and modeling techniques.(br>

(e). provide a range of drawing media - pencils, charcoal, prismacolor, conte; white drawing paper, middle value pastel papers, black construction paper.

(a). work slowly. Build value carefully, recognizing how the mark of the pencil introduces its own texture.

(b). as work progresses from general form to detailed features, more concern is demonstrated for texture, contrast, and emphasis.

(c). a purpose is to heighten awareness of contrast in shape, form, and texture areas and bring out delicate detail.

(d). critically but non judgementally, analyze work at all stages.

(e). apply assessment rubric.

(a). develop an assessment rubric including a holistic summative scale for students to use in self and peer assessment.

(b). complete a Teacher assessment with each student.

(c). assess knowledge of history, application of design elements, creative expression of theme, consciousness of craft, and overall success; using a 4 point rating system.

The focus of the project is to introduce the use of value through an emphasis and exploration of a design element expressed in the art of Western and non Western cultures.

Some students will have difficulty representing the full range of values. We gently encourage kids not to be "afraid of the dark" in their drawing.

Some students will have difficulty initially with visualizing just how dark shadow values on a form can be. They should be able to work with a medium that is forgiving of technique, and will let them add draw back into their work. Which is why we encourage students to begin with a hard graphite pencil, and gradually work towrad the darkest values once they have developed their composition and established satisfactory perspective and proportion.

Be aware of the potential for students who may experience an allergic reaction to the art supplies. Increasingly we are finding some students with mild allergic reactions to dusty drawing medium.

Encourage students to start over if it appears their first effort is doomed. But if they plan carefully, have a clear understanding of the process, and persist, they will be successful.

The value study projects are readily modified for use at intermediate or elementary level by working larger, and with the same drawing materials.

(a). reference books and or other electronic and print resources to find examples. The library and internet will be among the best sources. A collection of basic objects to draw. They will also need access to a computer.

(b). supplies, including:
tools
2h, 2b, 4-6b (or ebony) pencils, erasers (gum or kneading), charcoal (vine, pencil, or stick), Prismacolor pencils (at least 24 color), smudgers (optional - kids tend to rely on them too much to achieve a blended value), drawing boards.
materials:
white 60-80lb smooth drawing paper, (9x12 " - 12x18 "), smooth pastel middle value paper, black construction paper.

(a). reference material
Books we have found useful:
" Experimental Drawing " , Robert Kaupelis
" A Drawing Handbook " , Nathan Goldstein
" Color Drawing Workshop " , Bet Borgeson

(b). an example or two made by the teacher

(c). same tools.

(A). Formative Assessment
Students and the teacher will engage in ongoing performance assessment at different stages throughout the duration of the project.

1. 1. discussion of constraints:
   (a). appropriate use of drawing tools.
   (b). work reflects awareness of full range of value from lightest (white) to darkest (black).
   (c). careful planning of space.
   
2. 2. Observing approach to work:
   (a). exercising care with tool.
   (b). cleaning up and maintaining organized work space.
   (c). planning and visualizing the composition by sketching several possible arrangements, placements on paper.
   
3. 3. Observing drawing process as it is reflected in the work.
   (a). blocking out the form initially.
   (b). working from a light, rough outline to detailed finished center of interest area.
   (c). pacing the work, making slow but steady progress which requires patience.
   
4. 4. Maintaining a consciousness of craft.
   (a). taking pride in work with teacher support and encouragement.
   (b). care of tools.
   (c). preparing finished work for exhibit.
5. 5. Documentation.
   (a). photographing or computer digitizing students work (preferably by student).
   (b). using computer to assemble research and process notes, along with image. Students used SimpleText on a Macintosh to enter data. Teacher (or student webmaster) added html tags for our web page.
   

(B). Summative Evaluation:
Students will use rating scale and checklist to complete a self and peer evaluation checklist using a scale of 1-4 covering New York State Learning Standards criteria. We use variations the following:
(a). Historical Reference and Knowledge: (b).Perception and Expression: (c).A Consciousness of Craft: (d).Overall Effect: (e).Time on Task: After the project is completed and work is on exhibit, students critique the overall project. The follow up discussion provides information for the teacher regarding what to change next time the project is attempted, and what the student feels they would do differently or additionally to be more successful.