Skip to main content
Humanities LibreTexts

1.5: Practical Assessments

  • Page ID
    341304
  • \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)

    ( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\id}{\mathrm{id}}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\kernel}{\mathrm{null}\,}\)

    \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\)

    \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\)

    \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)

    \( \newcommand{\vectorA}[1]{\vec{#1}}      % arrow\)

    \( \newcommand{\vectorAt}[1]{\vec{\text{#1}}}      % arrow\)

    \( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vectorC}[1]{\textbf{#1}} \)

    \( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)

    \( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)

    \( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)

    \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)

    Practical Assessments

    Discussions, exercises, and projects are vital for developing observational skills, applying theoretical knowledge, and fostering creativity. They provide structure and challenge, helping students gain practical experience and confidence while building a unique personal style in their art.

    Sketchbook Exercises

    Each exercise is designed to develop technical skills in mastering value and contrast and encourage
    personal expression and experimentation with different drawing media. Through practice, students can
    discover their preferences and strengths, leading to a deeper understanding and mastery of drawing
    techniques.

    Hatching Exercise: Linear Light and Shade

    Objective: Practice using parallel lines to create gradients of light and shade, focusing on the
    illusion of form and depth.
    Exercise: Draw an egg using only hatching. Start with closely spaced lines for the darker areas
    and gradually space them further apart as you move to the lighter areas.
    Suggested Media: Use fine-tip ink pens or sharp pencils (HB or 2H) for precise lines.

    Cross-Hatching Exercise: Building Depth and Texture

    Objective: Develop skill in layering intersecting lines to create complex textures and deeper
    values.
    Exercise: Sketch a wrinkled piece of fabric, using cross-hatching to depict the folds and creases,
    paying attention to areas of shadow and light.
    Suggested Media: Mechanical pencils or fine liners, offer control for detailed cross-hatching.

    Stippling Exercise: Dot Density for Value

    Objective: Use dots to simulate varying degrees of value, focusing on the gradual build-up of
    tone to suggest form.
    Exercise: Create a portrait focusing on the stippling technique for the entire piece, varying dot
    density for different value areas.
    • Suggested Media: Use fine-point ink pens or markers, which allow consistent dot size.

    Blending Exercise: Smooth Transitions

    Objective: Practice smooth gradients of value from dark to light, aiming for seamless transitions.
    Exercise: Draw a sphere, blending to create a soft transition from the shadowed side to the light,
    including cast shadow and reflected light.
    Suggested Media: Use colored Pencils (burnish) or Graphite pencils (ranging from 2B to 6B)
    with blending stumps or a clean brush for smooth transitions.

    Chiaroscuro Exercise: Dramatic Light and Shadow

    Objective: Master the chiaroscuro technique to create strong contrasts and a sense of three dimensionality.
    Exercise: Choose a simple object and light it dramatically from one side. Draw the object using
    chiaroscuro to emphasize the contrast between light and shadow.
    Suggested Media: Use charcoal or soft graphite pencils, which are ideal for dark shadows and
    bright highlights.

    Scribbling Exercise: Expressive Textures and Forms

    Objective: Explore using loose, expressive marks to build up value and texture.
    Exercise: Sketch a landscape, using scribbling to fill in areas of varying value, from the dark
    foliage to light sky areas, aiming for an expressive quality.
    Suggested Media: Use Ballpoint pens or soft graphite pencils (B or 2B), which can easily vary
    pressure.

    Rendering Exercise: Realistic Detail

    Objective: Achieve high realism through detailed rendering, focusing on accurate values.
    Exercise: Select a photograph of an animal with various values and textures. Use rendering to
    replicate the image, paying close attention to the light, shadow, and details.
    Suggested Media: Use a combination of graphite pencils for detail and blending tools for smooth
    gradients, supplemented by precision erasers for highlights

    Drawing Project

    Project Overview – Spatial Depth Assessment

    This assignment assesses intermediate students' current skills in contour line drawing, spatial depth, and
    perspective. Students will create a series of three related contour line drawings of a group of objects,
    displaying their ability to depict depth and spatial relationships. This assessment will inform future
    instructional plans and identify areas for improvement.

    Learning Objectives:

    1. Evaluate students' proficiency in using contour lines to represent form and spatial relationships.
    2. Assess students' observational skills in capturing the details and nuances of a group of objects.
    3. Determine students' understanding and application of techniques for creating the illusion of depth
    in a two-dimensional format.
    4. Review students' ability to design and compose a cohesive series of related drawings.

    Project Instructions

    1. Observation and Selection:
    a. Choose a group of 3-5 objects that vary in size, shape, and texture.
    b. Arrange these objects to emphasize depth and perspective.
    2. Sketching:
    a. Create preliminary sketches to explore different compositions and viewpoints, focusing
    on how the arrangement affects depth perception.
    3. Drawing:
    a. On three separate sheets of high-quality drawing paper (minimum 9x12 inches), create
    contour line drawings of the selected arrangement.
    b. Each drawing should offer a different perspective or focus on a different group aspect,
    maintaining a cohesive theme.
    c. Use only graphite pencils, ranging from H to 6B, to achieve varied line weights and
    tones.
    4. Spatial Depth Techniques:
    a. Use overlapping, size variation, and placement techniques to enhance the illusion of
    depth.
    b. Consider the spacing and orientation of objects to create a convincing three-dimensional
    effect.

    5. Refinement:
    a. Refine each drawing by cleaning up stray marks and ensuring crisp and clear lines.
    b. Maintain a consistent style and approach across all three pieces.

    Additional Notes:

    • Students are encouraged to experiment with different viewpoints and take creative risks in their
    compositions.
    • Regularly stepping back from the work to assess the overall effect and make necessary
    adjustments is recommended.
    • Peer review and feedback sessions may be conducted to foster a collaborative learning
    environment.

    Submission Guidelines:
    • Format: Submit the three contour line drawings on separate sheets of paper, unmounted. Ensure
    each drawing is clean and free of extraneous marks.
    • Due Date: Submissions are due by [insert due date].
    • Labeling: Label each drawing on the back with your name, the date, and the series title
    (Assessment of Spatial Depth in Contour Drawing). Additionally, number the drawings (1, 2, 3)
    to indicate the intended sequence.

    Assessment Criteria:

    1. Accuracy of Observation (30%):
    a. Precision and detail in capturing the forms and spatial relationships of the objects.
    b. Demonstrated understanding of the object's proportions and perspectives.
    2. Technical Skill (30%):
    a. Proficiency in using graphite to achieve varied line quality and tonal values.
    b. Cleanliness and clarity of the drawings, with minimal extraneous marks.
    3. Composition & Design (20%):
    a. Effective use of compositional principles to create a visually engaging series.
    b. Triptych is consistent and coherent, with each drawing contributing to the overall
    narrative of depth and perspective.
    4. Creativity and Personal Interpretation (20%):
    a. Demonstration of originality and personal expression in the drawings.
    b. Solutions that are fresh and original in representing content and in establishing a sense of depth.

    This pre-instructional drawing assignment aims to gauge students' current abilities and inform future teaching strategies to address skill gaps and enhance overall drawing proficiency.

    Critical Analysis

    Discussion Prompt: Critical Analysis of a Peer’s Artwork

    Written Reflection
    Please write a brief reflection summarizing your feedback and any personal takeaways. Also, outline the
    specific skills you intend to improve upon in this course

    Peer Review Instructions
    Students will participate in paired discussions to critically analyze their and their peers' contour line
    drawings. The goal is to develop critical thinking, provide and receive constructive feedback, and reflect
    on personal drawing practices.

    All students must bring their completed contour line drawings and thoroughly review the assessment
    criteria. Present drawings and provide a brief summary of your methods. Analyze each drawing based on
    the assessment criteria provided below. In addition, you must provide constructive feedback using
    positive language and actionable suggestions.

    Assessment Criteria:

    1. Engagement in Discussion (40%):
    a. Active participation and thoughtful feedback.
    b. Respectful interaction with peers.
    2. Quality of Feedback (30%):
    a. Constructive and specific feedback.
    b. Balance of strengths and areas for improvement.
    3. Reflection (30%):
    a. Insightful written reflection.
    b. Clear articulation of takeaways and improvement plans.

    Additional Notes:
    • Encourage a supportive and open discussion environment.
    • Emphasize constructive criticism for artistic growth.
    • Consider using peer review rubrics for standardized feedback.24


    1.5: Practical Assessments is shared under a CC BY-SA 4.0 license and was authored, remixed, and/or curated by Kristen Kennedy.