Classroom Drawing Portfolio Rubric
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A, greatly exceeds expectations |
B, exceeds expectations |
C, meets expectations - |
D, passing |
F, failing |
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Drawings are presented impeccably. |
Drawings are presented without visible damage and an attempt to display the drawing well is visible. - |
Drawing is presented without visible damage. |
Drawings are slightly damaged. (small cut, wrinkle, or unintentional smudge) |
Drawings are more than slightly damaged. (torn, large unintentional smudges etc.) |
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The drawing(s) meet the assignment guidelines. Also, each drawing displays evidence of learning the specific/required skill(s). Additional evidence shows that the student has practiced to the point of comfort using the skill, and the student has also elaborated on that skill. - |
The drawing(s) meet the assignment guidelines and display evidence of learning the specific/required skill(s). Additional evidence shows that the student has practiced to the point of comfort using the skill. |
The drawing(s) meet the assignment guidelines. display evidence of learning the required skill(s). |
The drawing(s) meet the assignment guidelines. The drawings display evidence of learning the specific/required skill(s) in part. |
The drawing(s) do not follow the assignment guidelines and/or do not display evidence of learning the specific skills. |
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Evidence of more than 5 hours work is visible in each drawing assignment. |
Evidence of more than 5 hours work is visible in all save one drawing assignment. |
Excepting 2 drawings, evidence of at least 5 hours work is visible in drawing assignments. |
At least 5 hours work is visible in all but 3 assignments.
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Evidence of less than 5 hours work is visible in 4 or more assignments. |
CA 1/Blurred Drawing Exercise
Two sentences you will hear again and again in Drawing I:
Draw what you see, not what you think you see.
Focus on progress, not product.
This assignment is your first classroom assignment in Drawing I, and it epitomizes these goals. By drawing something so blurry, you must attempt to draw what you actually observe. There is little room to rely on a symbolic form of drawing when attempting to copy an abstract photograph. And, as you will throw away this drawing, you are encouraged to value the process, rather than the finished drawing.
Next week, you will draw flowers, fabrics, and other organic forms. You will also begin to save all your work. However, try to keep the spirit of this first day in mind. You might be tempted to rely on symbols for flowers, rather than observing individual plant forms. It’s also possible that you will not truly try a new skill because you’re afraid of making a “bad” drawing. Both tendencies are counter-productive and debilitating. Resist these tendencies. Draw what you see. Focus on progress, not product.
CA 2/Contour Line Drawing & Negative Space Drawing
Contour line drawing is economical. With just a few marks, you’ll be able to describe forms, texture, and even opacity, simply by varying the width of your lines.
You’ll start by making a viewfinder, a little cardboard window used to plan compositions. Then, you’ll make a few preparatory sketches on newsprint to further plan your compositions.
Using your quality drawing paper, you’ll make one finished drawing.
This finished drawing will start as a very light pencil drawing, probably drawn with a hard pencil. Then, you will enhance and erase some lines. If you are careful about such edits, you will not need any shading to thoroughly describe your still life.
After editing your pencil lines, you will enhance your lines with India ink.
After describing with lines, we will switch to shape. But, rather than drawing the figures, we will draw the space surrounding the figures. Again, we will start with pencil and work toward inking our lines.
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CA3/Proportion and Symmetry
Perfect symmetry and proportion are not difficult to achieve. By creating an inner axis, you will be able to measure your features, and those of any symmetrical object, such as bottle, then draw that object in perfect proportion.
We will first draw wine bottles, and then move on to self-portraits.
CA4/ HAIRDO
In this class we will work in the digital lab with tablets. Even though we will use photographs, it will still be necessary to observe very accurately. This skill is what I like to call “intelligent tracing”. This project is inspired by artist Matthew McConville.
CA5/ Introduction to Perspective
In this class we will work on perspective. Do not feel frustrated if this skill takes some time to master. It’s complicated! We’ll start by sketching basic cubes in with intuitive perspective. Then, we will learn a few perspective rules and clean-up our intuitive lines.
We will then move on to drawing a room or hallway.
CA6/ Perspective Design
You have drawn from observation in class. You have also used perspective to design. Today, you will combine these two skills. You will draw our classroom, but also add architectural features to the room.
This project has a digital lab option.
CA7/ Introduction to Value
Today you will draw candles, glass, and other reflective surfaces. To start, you will rub charcoal powder into thick paper using a soft cloth. This will give you a velvety mid-tone drawing surface. This allows you the opportunity to go lighter, by using your eraser, and to go darker, by adding more charcoal.
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CA8/ Value Continued, White Still Life
Using white and black conte crayon on brown paper, we will draw a still life that is exclusively made of white objects. We attempt to accurately capture all the values accurately.
CA9/ Texture Close-Ups
Today you will draw texture. Start by dividing your page into 3 sections with low-stick tape. Choose 3 objects from the still-life cabinet. Then, draw “extreme close-ups” of your objects.
This project has a digital option.
CA10/ Composition Sample
We will use the photograph you created for homework as a reference. As usual, start with large shapes and proportion. Develop your entire drawing as a whole, rather than developing portions of your drawing to various levels of completion separately.
CA11/ Sequence
