Critique of Figure Drawings at NFA

On the last day of fieldwork III, my partner, Sam Leopoldo and I guided a critique on our last lesson. On November 9th, we taught a lesson on figure drawing, and to close the unit we wanted to give the students an opportunity to review what they learned, what needed improvement, new techniques, and to answer any questions they may have had. We began by hanging each class's completed drawings with a number next to them. The students began by writing down their thoughts for each numbered drawing in preparation for the discussion.

We reviewed key topics in the critique, such as How do you know when your drawn figure is in proportion? and What is composition? From this point on we began discussing the drawings in front of the class. The class was able to discuss what made one drawing more successful in comparison to another, who had the best composition, which drawing looked most finished, and so on. By numbering the drawings it helped keep the discussion organized as well as keeping the artists' work anonymous- relieving the anxieties associated with critiques.

By the end of the day, this marked our 42 hour completion for fieldwork III. Sam Leopoldo and I learned a great deal from observing the school, various teacher's teaching styles, and teaching our lessons in Mrs. Masterson's art classes. Mrs. Masterson was a wonderful mentor teacher, and we thank her for her generosity and for the opportunity to learn and teach in her class.

Lessons at NFA

The last two Wednesdays my partner, Sam Leopoldo and I went to Newburgh Free Academy to teach our art lessons. On Wednesday, November 9th we taught a figure drawing lesson to Mrs. Masterson's Drawing I, Drawing II, and AP classes- 5 periods total, each period lasting 40 mins. In previous classes we observed the students draw studies of drapery, a still life of a skeleton, and some students are preparing a portfolio to submit to future colleges. We knew that a figure drawing lesson would challenge the students to take the next step in developing their art work as well as developing their portfolios.

We made a power point presentation going over the basics of figure drawing, including:

• gesture drawing
• proportions of male and female 
• relationship of figure to environment 
• shading from darks to lights/ light sources 
• drawing clothing 
• composition
• keeping in mind what is under the skin
• examples of finished drawings 

We also provided a demo of how to make a gesture drawing, and how to turn that gesture drawing into a completed drawing. Sam gave the demo while I modeled.

After the demo was given, we began with a few gesture drawings, each lasting 1 minute long. This warmed the students up for the longer poses. We let the students pose for the gesture drawings- this gave the students the opportunity to understand the movement of the body, as well as focus more on the angles of the shoulders, hips and spine. This also helped the students get more engaged in the lesson. I volunteered to model the longer poses in order to give each student an opportunity to render a completed drawing. We were so happy with how well they did!

The following Wednesday, November 16th, we guided a critique on their drawings they did in class November 9th. Students were able to reflect on what they learned, what could have been improved, and answered any questions they may have had. 

Classroom strategies for fieldwork and student teaching workshop

Tonight I attended  the "Classroom Strategies for Fieldwork and Student Teaching" workshop at SUNY New Paltz, conducted by Ellen Makow, New Paltz CSD veteran teacher. The training was meant to provide us with information on how to be more proactive and helpful as a fieldwork observer and student teacher.

The workshop was helpful, but more helpful for early education student teachers. She gave us strategies and tactics for hectic kindergarten classrooms. One point she brought up that I found interesting was she said to make sure that you don't repeat what a child's response. In Theory and Practice we've been conditioned to repeat student's responses so that their answers are projected, and everyone in class is able to take note of it- especially if its a correct answer or it adds to the lesson. However, when working with younger children, it is more important for children to gain a sense of importance- each voice is important. If they don't speak loud enough, ask them to repeat themselves in louder tones. If you don't allow them to gain their own voices, they will begin to think their voices are not important. After she explained this, it made sense; this is something I normally wouldn't consider. I am geared towards teaching high school students, and it was interesting to see a new perspective on teaching.


Other helpful insights she gave were applicable to all student teachers at all levels of teaching. First, she said the most important person to get familiar with is the secretary. The secretary knows the ins and outs of the whole school. Always smile and be nice to them, and to everyone for that matter. Always say good morning to anyone who walks past you in the hall, and smile. Smile all the time, even if you're miserable. She also said to include details about yourself in an email to your cooperating teacher before you begin student teaching. They want more than "I will be here and this time, see you Monday...." They'd like to know about your experiences, special talents, etc. If you know how to play the guitar, they'd like to know! They can apply your skills and experiences to the classroom, creating a new dynamic to a lesson, as well as positive feedback on your end. These become your opportunities to shine, and may later result in a lasting job.

During student teaching, ask if you can observe a parent- teacher conference. This will give you insight on how to address difficult situations, and how to develop a kinship with the parents. You want them to work with you rather than against you. She stressed how important it is, and I will definitely keep that in mind when I'm student teaching. 


Lastly, she recommended we get a letter of recommendation from our cooperating teacher for future jobs. Also, to have a means of contacting them in the future if you need their recommendations in the future. Never forget to  thank them, and bake cookies/ bagels for the entire faculty. They will have a lasting positive impression of you.

Tim Lefens

I attended a lecture at SUNY New Paltz by Tim Lefens, the author of Flying Colors and the creator of the Art Realization Technology. I expected the lecture to be about his work with his disabled subjects using the Art Realization Technology, however, it was more about what he thinks art is and what art isn't.

He opened with the question "If you were on your death bed and were about to die in four hours, what painting would you want starring back at you?". This question opened up his disposition of art. He believes the only way to make truly meaningful ("high") art is to lose yourself in it. You must let go of yourself in order to find ourself. I agree with this statement, because if you are aware of every little mark you make, it is no longer a naturally flowing process. You begin to censor your intuitions about how you would go about creating. It is no longer your original work, but your work censored by what you think it should be. I feel that you should be surprised by what you turn out, rather than planning everything.

Another statement he made was "It's not what people think of you, it's what you think of them". He was encouraging artists to be bold. Do not censor your self to suit others. I think this is a great message to give artists, as well as students in art classes. I've noticed within myself (as a developing artist in high school) this phenomena of censoring myself in fear that it would turn out inadequate, or I wouldn't want to show anybody my work, or that I would be so afraid of others judgements I would stop making art all together. The fear of critics' opinions is  HUGELY contributed to stifling creativity. As an art educator, I would encourage the same message to my students- don't be timid about your art making.

Mandala

I've been thinking about what activity I'd like to do for my 40 min lesson plan in my Theory & Practice class. As the theme of our lesson is culture, I was inspired by my Psychology of Memory and Thinking class, where we discussed mandalas and it's significance. Mandalas are significant in both psychology as well as in various cultures. A mandala in it's simplest form is any central design with lines emitting from it. In Sanskirt the word mandala means "circle".

Psychology of Mandala: Carl Jung discussed mandalas in his Memories, Dreams Reflections novel, where he discusses his experiences with patients, discoveries in his studies and experiments. Jung believes the mandala is the universal symbol of inner and outer peace within one's self. He also believes children are most in touch with their inner beings because they have yet been tainted by the outside world. The mandala is seen through out history, religions, psychotherapy and children.

The most common mandala we've all seen are the ones drawn by children. Who taught children to draw a sun with a circle and spokes? It's just innate within them.

I had to abandon the idea of the superordinate position of the ego. ... I saw that everything, all paths I had been following, all steps I had taken, were leading back to a single point - namely, to the mid-point. It became increasingly plain to me that the mandala is the center. It is the exponent of all paths. It is the path to the center, to individuation. - C. Jung 
 


Mandalas throughout history/ cultures/ religions:

• Tibetan Buddhists- the creation and destruction of mandalas are a tradition involving colored sand. The destruction of their sand mandalas symbolize the Buddhist doctrinal belief in the temporary nature of the material world.
• Aztecs- the Aztecs utilized mandalas to organize a calendars, one of which we use today called the xiuhphualli. It has 365 days, and describes the days and rituals related to the seasons, and may be referred to as the agricultural year or the solar year.
• Christianity- the mandala is a common theme seen through out Christianity. It is seen in stained glass windows, the celtic cross, halos, and the crown of thorns.

Creating a mandala for my 40 min lesson/ activity would be very appropriate for the cultural theme.  I think it would be fun activity, and the class would learn about a broad spectrum of cultures. I would make hand-outs to effectively teach about the history and psychology behind a mandala while still having enough time to carry out the activity.