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The Art of Teaching ArtA Guide for Teaching and Learning the Foundations of Drawing-Based Art$
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Deborah A. Rockman

Print publication date: 2000

Print ISBN-13: 9780195130799

Published to Oxford Scholarship Online: November 2020

DOI: 10.1093/oso/9780195130799.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 01 March 2021

Establishing the Classroom Environment, Conducting Critiques, and Assigning Grades

Establishing the Classroom Environment, Conducting Critiques, and Assigning Grades

Chapter:
Chapter 4 Establishing the Classroom Environment, Conducting Critiques, and Assigning Grades
Source:
The Art of Teaching Art
Author(s):

Deborah A. Rockman

Publisher:
Oxford University Press
DOI:10.1093/oso/9780195130799.003.0009

The kind of environment you wish to establish in your classroom is an individual decision that is in part determined by your particular personality and what makes you feel most comfortable. Some teachers prefer a very relaxed environment while others prefer a more controlled environment. Regardless of which approach most appeals to you, you must consider what will be most effective in helping the majority of students to be attentive and productive during class time. In a studio class in which most students are college freshmen right out of high school, you may find it beneficial to keep a tighter rein on things since there seems to be a tendency for the atmosphere to escalate to noisy and chaotic if boundaries are not clearly established and adhered to. In a studio class in which the majority of students are older or more experienced, it will generally not be necessary to monitor things quite so closely. This reflects the simple fact that older students tend to be more mature and often take their studies more seriously. Of course this is a generalization that does not apply to all students, regardless of age or experience. You must gauge the situation and conduct yourself accordingly. Experience indicates that if the atmosphere is too unstructured, with a lot of noise and chatter unrelated to the work being pursued, it is difficult for students to concentrate and to maximize their learning experience. It is therefore a good idea to make it very clear when it is okay to be a bit more relaxed or playful and interactive with fellow students, and when it is time to buckle down and get to some serious work and maintain an atmosphere conducive to this. When working with a model in a life drawing course, certain guidelines should be followed to insure a mutually comfortable and respectful atmosphere for the students and the model. These guidelines are discussed in chapter two under “Classroom Etiquette for Working with a Nude Model.”

Keywords:   balance, cast shadow, demonstrations, freshman classes, generalized drawing, harmony, individual attention, lectures, organizational elements

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