SchoolArts Magazine

Summer 2018

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

Issue link:

Contents of this Issue


Page 36 of 58

E L E M E N T A R Y N o, not another self-portrait! Do I have to draw me?" "Can I draw myself not smiling?" "I don't like drawing teeth. Why do I need to learn this?" These are comments that I hear as students start working on one of their self-portrait assignments. I think to myself, how can I make this more engaging for my students? How can I make observa - tional drawing fun and inspiring? Why a Portrait? Portraits and observational draw- ing have always been a cornerstone Leigh Drake THE GRID of art. Observational drawing is the best way to discover and prac - tice the basic techniques of draw- ing. These learned skills can later be applied to any subject in art. Drawing portraits helps students develop and strengthen their natu - ral drawing abilities. It also aids in improving observation and render - ing of shape, tone, color, pattern, and texture in a variety of media. Choices and Constraints After completing a course on differ- entiation and instruction in art educa- tion at Kutztown University with Dr. Heather Fountain, I was inspired by the idea of "choice making" in the artroom—letting go of the reins and allowing students to gain ownership of what they create. For this lesson, I gave students the following instructions: 1. Students would draw themselves while observing, without adding any other information. 2. Students would split up their por- trait into at least six sections. This could be after the physical draw- ing of the portrait. 3. Students could choose the draw- If a child can't learn the way we teach, maybe we should teach the way they learn. —Ignacio Estrada 32 SUMMER 2018 SchoolArts

Articles in this issue

Archives of this issue

view archives of SchoolArts Magazine - Summer 2018