Sketchbook Rubric
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A, greatly exceeds expectations |
B, exceeds expectations |
C, meets expectations - |
D, passing |
F, failing |
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Each research assignment is completed thoroughly and correctly. Evidence of much reflection and thought is evident in writing. - |
Research assignment is completed thoroughly and correctly. |
Evidence of at least an hour’s work apparent in research assignment. |
Less than an hour’s work is apparent. |
Less than half an hour’s work is apparent. |
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Drawings are presented impeccably. |
Drawings are presented without visible damage and an attempt to display the sketchbook page well is visible. - |
Drawing is presented without visible damage. |
Drawings are slightly damaged. (small cuts, wrinkles, or unintentional smudges) | Drawings are damaged. (beyond small cuts, wrinkles, or unintentional smudges) |
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The drawing(s) meet the assignment guidelines. The 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. Also, the drawing displays evidence of learning the specific/required skill(s). |
The drawing(s) meet the assignment guidelines but may display some difficulty learning the specific/required skill(s). |
The drawing(s) do not follow the assignment guidelines and/or do not display evidence of learning the specific skills. |
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SB1/Materials Doodles
Minimum Time: 3 hours (you get a break this week because you had to spend time buying materials)
You have a new box of drawing materials. It’s time to break them in. Open up everything in your kit and mark at least 5 pages of sketch book paper with various patterns. Don’t try to draw anything representational. Just experiment with each drawing tool. Practice thoroughly though. Evidence of an in-depth investigation must be visible in your mark making.
Write brief explanations on each tool or combination of tools. For example, what is good for smudging and subtle shading? What eraser is good for precise marks? What are the differences between the various pencil densities?
Be sure to conduct the following doodling exercises:
1. “2 ways value scale”
Make marks from darkest to lightest with each tool using 2 methods. For example, you may alter the value of charcoal marks by altering your hand pressure, or, by altering the density of overlapping small marks. (with ink be sure to use both overlapping small marks as well as watering down the ink to vary the darkness)
2. “overlap and combine”
What happens when ink is placed over sharpie? What about conte over charcoal? Make sure to combine each tool at least once.
3. “draw a line“
With each tool, make various lines. Make sure that you practice geometric lines, flowing lines, implied (broken) lines, soft lines, and strong lines.
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SB2/Blind Contour Line Drawing
Minimum Time: 5 hours
Blind Contour Popcorn:
Assemble 50 pieces of popcorn. Draw individual kernels without looking at your page. Draw very, very, VERY slowly. Attempt to trace the contour of each “nook and cranny.” As you progress, notice how your hand-eye coordination improves.
Blind Contour Portrait:
While looking in the mirror, attempt to draw a blind contour portrait without lifting your pencil from the drawing surface. Remember to draw extremely slowly. Resist the urge to peek at your page while drawing. Even though your drawing will not look realistic, it must evidence very careful observation. Resist the urge to draw too quickly.
After completing one portrait, alter your expression and draw another blind contour portrait. Repeat this process. Create 3 blind contour portraits.
Contour Line Research:
Look up the line drawings of Leonardo Da Vinci, Albrecht Durer, and Henri Matisse. Cut and paste one work from each artist into your sketchbook. Be sure to label your images with the title and artist’s name. Then, write a short response to their work.
*Only use reputable websites, such as museums and university websites. I recommend using a CCBC subscribed database, such as Artstor. This standard for research applies to all future sketchbook assignments.
Writing Prompt: How does each artist use line? Compare and contrast their distinctive styles.
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SB3/Proportion and Symmetry
Minimum Time: 5 hours
Organic/Symmetric:
Combine what we have covered in class by drawing a symmetrical object, such as a bottle, and an organic object. Remember to use the inner axis technique. Your symmetrical object must remain symmetrical. Also, make sure that you are varying your line quality to indicate texture, opacity, and depth.
Exaggerated Portrait:
In class, you created a perfectly scaled, symmetrical self-portrait. Now, have some fun with proportion. Either enlarge or reduce some of your features. But, even though we are exaggerating, use the axis technique. You must remain symmetrical!
Research:
Search for images of drawings, paintings, or sculptures of the human figure by Polykleitos, Sandro Botticelli, Chuck Close, Lisa Yuskavage, and John Currin. Cut and paste one work from each artist into your sketchbook. Continue to follow all research standards. Write a short response to their work.
Writing Prompt: How does each artist represent the human figure’s proportions? What are the rationales for each approach? Do you think that they all have the same motives?
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SB4/Perspective Basics
Minimum Time: 5 hours
With a highly sharpened pencil and a ruler, make a small illustration of cubes and boxes in 1-point perspective. Label the: point of convergence, horizon line, converging lines, horizontal lines and vertical lines.
Draw the same cubes and boxes in 2-point perspective. Label the: horizon line, points of convergence, converging lines, and vertical lines.
Use these drawings to aid your understanding of perspective.
Building
Make a sketch of a building in two point perspective. Then, use the perspective technique to correct your perspective lines. If your sketch lines are very light, you may not need to erase very often. Use a building that is interesting, but avoid a building that is too complicated. Also, remember that this technique is very good for “blocky” buildings. Don’t choose a building that is too organic. Do not completely erase your perspective lines.
Research:
Linear perspective was codified in the 15th century by Filippo Brunelleschi, and Leon Battista Alberti. May artists have made use of their tutorials. Engage in an image search for Massaccio, Raphael, Mies Van der Rohe, and Frank Loyd Wright. This is a chance to exercise your ability to recognize linear perspective. You must choose drawings or paintings made with linear perspective. Write a few sentences for each image.
Writing prompt: Linear perspective is a useful tool for drawing wood blocks and…
Linear perspective helps create the illusion of depth on a flat surface by…..
Want to watch some fun perspective tutorials?
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SB5/Perspective Design
Minimum Time: 5 hours
Use 1 or 2 point perspective to design a room in your house, a new gadget, or anything that you might want to build. Rather than drawing something that already exists, this is your chance to use your imagination. Remember, linear perspective is mostly good for drawing “boxy” things. Eliminate organic shapes.
Draw your design from 3 separate perspectives. You may draw it from above, from below, from the side, etc.
Research: This week, your research is self guided. Research 3 designers or 3 architects. If you are designing a loft style bed, research a furniture designer. If you are designing a house, research an architect. Make sure that you are able to identify the designer or the group of designers responsible for your images. Label each image. Write a short paragraph on why you choose each image.
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SB6/Drawing Surface & Pattern Experiments
Minimum Time: 5 hours
This is your chance to draw on something other than white paper! For example, you might draw on wall paper, old cardboard, sand paper, or anything that you can add to your sketchbook.
Start by experimenting with various drawing surfaces and drawing tools. Then, observe some patterns and textures from your house, natural environment, or photographs. Draw your patterns and textures with various drawing tools. You might wish to layer one tool over another.
Create 5 drawings. No drawings may be on the same drawing surface.
This exercise is intended to provide a break from the rigidity of perspective, as well as prep for next week’s introduction to value drawing.
Research: Sol LeWitt, Miriam Schapiro, Linn Meyers, and Barb Bondy. Print an image from each artist for your sketchbook. Write a short description on their use of pattern.
This Linn Myers drawing will is an excellent example of a master work that makes use of repeated visual elements and the slick, water resistant Mylar drawing surface.
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SB7/Composition Study
Minimum Time: 5 hours
This week, you will prepare and photograph a still life. Your still life arrangement should carefully mimic the composition of a master work. Do not attempt to copy the subject matter of the master work. Focus only on copying the shapes, position, and lighting. For example, if you have chosen a painting of a woman, don’t use a doll to mimic the painting. Instead, use objects that mimic the shape of the human figure.
Start by researching the following masters of composition: Caravaggio, Edward Hopper, Vermeer, Georges Seurat, Ansel Adams, and Robert Adams. Choose one work from one artist. When making your decision, try to ignore the subject matter and focus only on composition. For example, Caravaggio’s “Medusa” is an exciting panting, but not because it one of his most impressive compositions. Therefore, it is not the best choice for this assignment.
After selecting your work, arrange and photograph your still life. Expect to work for an hour or two. It is time consuming to adjust the placement of your objects and lighting to accurately capture your composition.
Finally, print your photograph and a copy of the master work that you have chosen in black and white. In class, you will draw from your photograph. You need not print on photo paper, but make sure that your print has fairly accurate values and enough detail to serve as reference when drawing.
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SB8/ Value Exercise
Minimum Time: 5 hours
You might already make little sculptures with your kneaded eraser. It’s a rather fun tool. Make some interesting forms by twisting, pulling, and shaping it.
For inspiration, research the sculptors Henry Moore, Barbara Hepworth, and Constantin Brâncuşi. Print out one image for each artist.
Draw your kneaded eraser sculpture approximately 10 times larger than it is in life. Be sure to concentrate on value. It might be good to work in an extreme light condition, as strong directional lamps will provide you with a good contrast between light and shadow. Work for at least an hour on developing the highlights and shadows. You may work in either charcoal or pencil.
After drawing your eraser, squish it and start the process all over again. Create a minimum of 5 drawings.
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SB9/Texture Collage
CANCELLED!
Please give SB10/Landscape your best. It is your only assignment over spring break!
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SB10/Landscape
I hope that you will enjoy some nice weather over break. Get out into the landscape with your sketchbook. Create 3 drawings.
- One drawing should use contour lines to capture the landscape.
- One drawing should use value without outlines.
- One drawing should use overlapping lines to create value.
For inspiration, check out the drawings below by Rembrandt, Edward Brown, and Van Gogh.
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SB11/final project proposal part 1
Minimum Time: 5 hours
The final project in Drawing I is an opportunity to display the skills you have acquired in this course. It requires planning, work ethic, observational drawing skills, and a great deal of patience. This project is also a chance to add your own ideas and interests to an assignment.
Your project must be observational. You must also utilize at least four 18″x24″ drawing pages (or the equivalent size in other formats). Your project must work as single, cohesive work of art.
Notice that these parameters are wide enough to allow for many interpretations. Observing is quite a broad discipline. Think of how many things one could observe. The size requirements also allow for a great deal of variety. You may use one huge sheet of paper. You might also use 30 small sheets of paper. It is possible to create a single work without actually joining your pages physically. You need not work with traditional materials or surfaces.
In your sketchbook, describe your independent project ideas in paragraph form. Write about your ideas, but also be sure that you describe how you will draw quite practically and literally. For example, “I will create layered, overlapping, perspective drawings using drafting pencils. I will start by drawing the Q building from both inside and out and on single 36″x 48″ clear vellum sheet. Then, I will draw other buildings on this single sheet of paper. I will finally highlight certain lines with a bold sharpie marker. The spaces will eventually appear fractured and disjointed”.
Also, create detailed drawings in your sketchbook so that your classmates are able to understand exactly what you hope to accomplish. You will present your ideas to the class.
Have fun with this proposal. Remember, this is your chance to expand the parameters of observational drawing. You are encouraged to approach this assignment creatively.
Create a minimum of 3 separate proposals.
Here are just a few examples of works made by former students:
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SB12/final project proposal part 2
After presenting your ideas to the class, we will select one proposal idea. Before beginning your large scale final independent project, which is very large indeed, try to work out your project in a small scale. Create 3 fully developed drawings to examine how your project might develop. Also, complete the written portion of the final independent project.
