TEA case study 2 Drawing as a means of learning

Introduction

For this reflective study I have opted to discuss how I have adapted the use of drawing within lesson and the implementation of essential questioning in response to my schools new initiative, Project Based Learning (PBL). The essential question should stimulate Thinking prior to the Action and allow students to articulate (express) through a drawing medium. How Have I Used Drawing Within My Lessons? At the start of TEA, I hadnt thought deeply about the impact of drawing on the way that some students think and react. I saw it as a simple tool leading to greater things; perhaps a sculpture or painting. Its standard use would be as a starter, warming up the mind and soul in preparation for things to come (Im sure this is how I have explained its use to students), often delivered through fast drawing exercises or practicing a formal element. Whilst reflecting for case study 1 there was a momentous epiphany: warming up the mind and soul in preparation for things to come, I thought to myself, why should this only be a preparatory tool? Why am I using it as a preparatory tool? Perhaps the greater thing is in fact the drawing itself? After all, I do rely on this basic function to support the delivery of my lessons. It is clear from the introduction that I used drawing predominantly as a starting activity. On the whole this is true, but there have been some instances where

drawing has been used within a scheme of work. As a teacher, I didnt really enjoy the drawing based lessons as much as I did 3D work such as ceramics or sculpture. Yes, there are elements of drawing involved within these aspects of Art and Design but they were not at the forefront of my teaching intentions. Some examples of starting activities would include, fast drawing: students were given a set length of time (no more than 1 minute) to produce a drawing based on an object or of the person sat opposite them. The results would be as expected often crude, without focus or applied skill. Practicing the formal elements is another starting activity. I think there is value to this but it did need to be delivered in a different way, as the results were disappointing. Realising that I had been explaining the use of drawing from the perspective of a teacher as a starting activity, I planned to change this and raise its profile within my lessons. Before implementing a new strategy across the teaching groups, I piloted a scheme (combined with other whole school initiatives) with students that attend an Art Club that I run within school. The Art Club has a core of regular attendees numbering 15 with up to 25 on occasion from a range of key stages (year 7 10). The ethos of the Art Club is to enjoy creativity in whatever form it comes. The club structure is in constant state of flux and changes year on year as a method of refinement in order to find the perfect balance. How Drawing Is Being Implemented Having reflected on my practice, I was disappointed. It was clear that I had selfish intentions and that I was playing to my own strengths rather than risking my personal abilities and allowing students to explore different

approaches to Art. A new approach was needed, which has taken the form of Project Based Learning. Project Based Learning is a collaborative learning tool that draws teachers together to work as a group in order to support a more rigorous method of delivery that supports students in and outside of school. Creative and Media staff at SBL have piloted the scheme, measuring its success of this method will be delivered later in the year.

Taking the idea of the essential questioning I have created a range for different possible outcomes.

What will the beach of the future look like? What is the impact of human activity on our beaches? Can I take more responsibility for what ends up on our beaches? Revolution is Art, how would you create a revolutionary artwork? How can you create an informative & fun method of learning about artists and art theory? The EQs were pitched to Art Club students and they chose to focus on 1 specific question.

Revolution is Art, how would you create a revolutionary artwork?

This essential question is aimed at provoking a reaction to the concept of Art as a subject. Students start this project with mind mapping and a project brief. There is a choice of collaborative or independent working; either way students are tasked with producing a revolutionary artwork. The project brief gives an outline and context to which the students work to use to inform the direction they take to get to the outcome. For this project the outcome is a revolutionary artwork, as per student definition. In addition to the brief there is a series of deliverables, individual and or group based i.e. what each student must contribute. The first deadline for this project required students to describe what they think a revolutionary artwork is: A piece of art that makes a fundamental difference Something that is radically new I think it is something that hasnt been done before The second deadline required students to investigate an artist that matched their interpretation. Learners were able to find a host of artists that resembled their description; Peter Blake and his complex use of collage materials; David Hockneys innovative iPad exploration; Annie Liebovitzs fantasy/realist portrait photography; Banksys risk-taking political graffiti and curious anonymity; Emory Douglas and his characteristic posterised portraits. I was interested to see how the students responded to this aspect of their learning. Often I find that in the lower years that research/investigation, in a theoretical sense, is a 'chore'. This was different. There was a sense of urgency or even a sense of higher thinking that indulged the students in their

explorative research. What is most remarkable is that the goal of finding an artist provoked a higher level of focus from the students when compared against a practical activity. When asked about this, students responded with fairly similar commentary: If I dont do it then I cant do my final piece as well Without the artist, where do I get the inspiration? I need to come up with some ideas. Doing this will help The third deadline asked for students to decide on a theme for an artwork that can take any form and to produce a design (1st draft). Most of the students have chosen to create a 2D study1 using traditional drawing materials. The students were questioned about their motives and to explain why they have chosen to produce drawings rather than, well, complex 3D objects or a largescale painting. The responses varied with some students explaining that they felt that drawing "...is the difference between the way I think and how I describe [my] ideas". I feel more attached to something that I draw because its personal and can be anything. It doesnt have to make sense to someone else, just as long as I understand it The initial response to my questioning forced me to think about the impact of drawing on the learners emotional needs and as a result provoked some follow up questions: "How do you feel when you draw?" I dont know really, I havent thought much about it.

Sometimes Im so focussed that I lose track of time. "What do you draw most when at home?" Anything, my pets or family. Sometimes I draw what I see out [of] my window I dont really draw things that exist. I like to think about shapes and structures in my head and let my drawing explain what I see. "You had the opportunity to create an artwork using any material, why have you chosen drawing when you could have produced a sculpture?" I find drawing easier, not because I cant do something 3D but because I find it easier to explain what Im thinking. I suppose I could use my drawing to help me make a sculpture? I just didnt want to. I love drawing! Students response has shown that they feel more able to communicate an idea or thought process through drawing easier than, in some cases, articulating verbally. Moreover, this aspect is the immature epiphany of a prolific artist as art is subjective and means something different to each individual but with a common factor; using art as a tool for delivery of message; a way of expressing without fear or condemnation. I think it is important to remind ourselves as art practitioners that sometimes it is about enjoying the experience rather than encouraging a meaning or intention to an artwork. Perhaps the complexities of abstraction or contemporary Art (no matter how important) are sometimes a hindrance in the social impact and development of our younger learners.

The following deadline required students to critique the first draft2. The critique3 plays an integral role in student progression. The critique should be kind, specific and helpful4 (this term is used consistently and students respond positively and apply this really well to their critique sheet!!5 ). Once completed, students share their thoughts and respond to the reflection of their work. The response is a development of the first draft. When students have conducted and responded to their critique they create a Blueprint for success. Learners add a comment to the critique that highlights how they are going to implement change. This process of draft - critique develop can repeat as many times as is necessary prior to production of the final piece. When the final piece is ready and finished, an exhibition6 takes place. The purpose of the exhibition is to raise the profile of individuals work and to establish a professional atmosphere. Students respond very positively to this prospect.

Summary Project based learning has allowed me to explore drawing as a fundamental tool for the development of learners in key stage 3 & 4. When given the opportunity to explore an aspect of Art, they default to drawing. The drawing allows for further opportunities within Art; it could be used to inform a 3D outcome, or to remain as a refined 2D product. Drawing has provoked a deeper sense of learning when used as stimulus or as a goal for the end of a project. Some students have made significant progress within their formal learning as a result of engaging with Art Club and understanding how to

transfer the skills taught. The skills I am referring to are not necessarily to do with practical understanding, but more about the thought process. Learners understand why they need to investigate, why they need to refine their work, why they need to consider variables when devising a final outcome. When compared against students who have not experienced PBL or Art Club, attendees are attaining higher levels. It could be argued that those who attend are generally high achievers, but this is not actually the case: 42% of attendees have a below average (for their year group) current grade. This is a very pleasing result for the department. I think it is also important to summarise the emotional impact this project has had on students. With each discussion or questioning of learners, they have responded with a thoughtful remark that has often taken me by surprise. Listening to these comments has enthused and supported the foundation of the style of teaching. Applying these comments in a conclusive manner has shown that learners are revived by the prospect of drawing; it opens a way for channelling thought, skill and explanation. It is important for the reader to understand the demographic that the school is situated; many students come from a difficult background with a high percentage of students taking Free School Meals (FSM); there is a number of looked after children; challenging behaviour is fairly common; SEN is above national average. Moreover, the general environment around the school is situated in is heavily urbanised, has limited playground space, almost to the extent that there is no grass to play on. Its a classic 50s build in dire need of renovation (in some areas). However, the school is going through changes; development of sports facilities and a developing garden & natural ethos. But these aspects will take

time to mature. With all of these variables thrown into the mix, and the added pressures of teenage hormones, the atmosphere within the school can be tense and fractured. My thoughts on this are that learners need an escape from the immediate pressures and require the opportunity to relax into a stimulating atmosphere that encourages expression and higher levels of thinking. This is where my teaching has adapted. I rely on drawing for more than simple procedures or as a starting activity; it has become the forefront of teaching intentions. To conclude: the past year has shown me how I should use drawing; to inspire, to provoke thought, to experiment, refine and develop. My lesson structure has changed significantly to embrace drawing as the main content or, at the very least, the stimulus to produce valuable artefacts that are valued. Included in the appendices is some examples of students exploration into drawing with view to answer the essential question. And a final note; I cannot stop drawing thanks to TEA.

Appendix

Visual exploration

1st, 2nd draft examples

PBL model, including critique process

Example material for student critique

Student critique

Year 10 students delivering an exhibition (although not relevant to the context of this report, the principle is the same.
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