Expression in Line.

I found a newspaper image of a drawing entitled Panama Hat by David Hockney. The image is of a striped jacket placed on a bent wood chair with a clear glass and a Panama hat resting on that chair. Hockney's strong contrast and composition captured my attention. I asked myself, "Is it possible to develop a still life that can show a response to a famous artist's work and go beyond this to motivate students to a better understanding of various qualities of expressive line?"

Warm-Up Activity

Place art tables in a circle surrounding the still life. At each student's work area, place a different colored pencil and a sheet of 12 x 18" (30 x 46 cm) white drawing paper. Instruct students to draw from that particular perspective of the still life for one minute. Then, tell them to move, take their colored pencil and sit in the seat of the person to their right. Eventually each student adds their colored lines or marks to further develop the composition, continuing where the last person left off. The goal is to have each student add their color to the cooperative image. Through this process, the students move completely around the classroom and end up where they began. This activity offers the opportunity to view, record elements, and therefore visually understand the makeup of the entire still life in one class period.

Visual Challenge

Students are to develop three separate line drawings from three perspectives using contour line, weighted line, and expressive line. They are to analyze how the use of varied technical qualities of line influences the expressive qualities of the subject.

Materials

12 x 18" (30 x 46 cm) or 18 x 24" (46 x 61 cm) white 80 lb. drawing paper.

A range of drawing pencils from 2H, H, F, B, 2B, 4B, and 5B.

Black drawing pens sizes 0.3 mm, 0.5 mm, and 0.7 mm.

Startup

Create a still life that reflects an artist work or style. Utilizing an artist's work to inspire the still life can help make a connection to art history.

In this case, I used the work of David Hockney entitled Panama Hat. Use the same or similar elements found in the given artist's subject to structure a still life. Share examples of the artist's work to discuss the similarities and differences. Share why this artist's work is important in the history of art. Share examples of the various styles of line to be explored, such as contour, weighted. Also share other examples of drawings that are expressive.

Process

Students begin by selecting an area of the still life to draw. The first drawing is a modified contour line drawing. Students are instructed to draw only when their eyes are on the subject. When checking their image they must stop drawing. The work is created initially using a No. 2 school pencil or its equivalent (B or 2B) drawing pencil. When the pencil drawing is complete a black drawing pen is used to go over the initial drawing, with the aim of a continuous and flowing line.

The second drawing is more difficult as students learn to vary their lines. Creating a line that changes in thickness and density begins with an understanding of light source and how that impacts the subject. A strong light source for the weighted line drawing will help students see the relevance of using this type of line. The light gray lines are placed to show the strongest light and the darkest lines are the ones in the most shadow. Student decisions are made line-by-line with an aim to creating a flowing line that connects the subject and the line variation. This drawing is completed in pencil using a range of drawing pencils (2H, H, B, 2B, 4B, 5B).

There are no limitations to the third drawing in this series, other than that it should stay within the boundary of using only line. Pencils or technical pens are available for the students to choose from. Before starting the final expressive line drawing, compare the linear qualities of a variety of line drawings by other artists so that students can see the vast variety of visual possibilities. I used drawings by Picasso and van Gogh. I explained that each of us can use line uniquely to create an image that both shows the subject and is very expressive.

Evaluation

Is the kind of linear expression easily identified in the student line drawings? Is personal expression seen? Does the work reflect strong compositions while maintaining visual interest?

Conclusion

Two class periods were devoted to contour line exercises, three to weighted line, and five to expressive line, with an additional period for the final critique. The project gave the students a sense of freedom to choose from varied perspectives and change that perspective in the course of the three assigned drawings. Through this process, students learned how to vary their linear style of drawing and use line in new and expressive ways. All three varied ways of linear expression increase visual awareness, eye-hand coordination, and knowledge of composition. Students considered both the positive and negative space in developing their compositions.

NATIONAL STANDARD

Students create artworks that use organizational principles and functions to solve specific visual arts problems

Ken Vieth is an art teacher at Montgomery High School in Skillman, New Jersey.