Dipping our toes into realism.
Students often come to me with fears about their skills. This is usually about realism, and getting it to “look right.” What if instead of diving deep into portraits or still lives, we dip our toes into realism in a fun way. I even allow students who struggle to print and *gasp* trace their contours. I let them know those who don’t rely on tracing will exceed expectations and get closer to a 100% on their grade, but tracing is a tool that is available if you need it (and addressed in my rubric)
I start with a bit of homework. Bring in 2 objects, or photos of two objects that are personally significant for you. You will have to draw them at some point, so be thoughtful in your selection. If one is really complex, then it’s okay to make the second one simpler.
I made some suggestions for objects students could focus on. Like something that represented early childhood, and another representing a career you hope to have one day. Maybe something you use to like has changed into a new passion. This way, the objects tell a story.
I open with a slideshow and an introduction to M.C. Escher’s Metamorphosis image. I focused on his smooth transitions from one image to the next. Then I showed some 4 and 5-step transition examples. I note how the first and last images were the only ones that were realistic. The rest had to be made up.
I start with a bit of homework. Bring in 2 objects, or photos of two objects that are personally significant for you. You will have to draw them at some point, so be thoughtful in your selection. If one is really complex, then it’s okay to make the second one simpler.
I made some suggestions for objects students could focus on. Like something that represented early childhood, and another representing a career you hope to have one day. Maybe something you use to like has changed into a new passion. This way, the objects tell a story.
I open with a slideshow and an introduction to M.C. Escher’s Metamorphosis image. I focused on his smooth transitions from one image to the next. Then I showed some 4 and 5-step transition examples. I note how the first and last images were the only ones that were realistic. The rest had to be made up.
| metamorphosis.pdf |
We worked in scale sketches, the same size as our final paper in case their sketch came out very well, this gave then the ability to transfer it easily to better final paper. I always give students 3 items they must include to meet expectations and earn an “A” or 90%, and 3 more things they could do to exceed expectations and get closer to 100%.
Musts:
5-step metamorphosis
First and last image must be as realistic as possible
Include some unifying background element to tie the work together.
To exceed expectations they could…
Do more than 5 steps of transition.
Do detailed backgrounds
Incorporate gradients, shadows, and realistic textures
3 important tips for success.
A: Always start with the first and last image, leaving room for the middle three. B: Then do 1-step toward the middle with only small changes that imply the other image. C: The last image is the middle one.
This process helps the images retain a smoother transition. If you go from left to right, steps often get too big or too small and the transitions feel jarring.
Only if time allows do we address the background in detail or look to push the level of detail, gradients, shadows, etc. This keeps everyone on task. Those who work fast can be pushed to shade, add texture, or enhance their backgrounds.
Though this is not a new project for many readers, my approach may be.
Using realism as a smaller component
Using a detailed background to keep high-flyers on task
Incorporating personal student items helps with student buy-in.
Musts:
5-step metamorphosis
First and last image must be as realistic as possible
Include some unifying background element to tie the work together.
To exceed expectations they could…
Do more than 5 steps of transition.
Do detailed backgrounds
Incorporate gradients, shadows, and realistic textures
3 important tips for success.
A: Always start with the first and last image, leaving room for the middle three. B: Then do 1-step toward the middle with only small changes that imply the other image. C: The last image is the middle one.
This process helps the images retain a smoother transition. If you go from left to right, steps often get too big or too small and the transitions feel jarring.
Only if time allows do we address the background in detail or look to push the level of detail, gradients, shadows, etc. This keeps everyone on task. Those who work fast can be pushed to shade, add texture, or enhance their backgrounds.
Though this is not a new project for many readers, my approach may be.
Using realism as a smaller component
Using a detailed background to keep high-flyers on task
Incorporating personal student items helps with student buy-in.
If you like this lesson and would like more for any level K-12 THIS book will be helpful. It is organized by art elements and principles. (A follow-up expansion edition is HERE.) It comes with the rights to make copies for your students, and if you have a special needs middle schooler, you can give them the elementary version of a lesson. Alternatively, if you have one that’s especially advanced, they can be given the high school version of the same lesson.
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