Lesson 01

From source to mark

Students develop a mark through close observation of something familiar and select one form to carry forward.


01 /

Overview

Learning
Develop a mark through close observation and select one form to carry forward.
Making
Source → observation → feature → first mark → selection
Evidence
First-looking response → source drawing → selected feature → first marks → selection and reflection

02 /

Prepare

Materials
Graphite, ink, one brush, scrap stock, visual diary.
Room
Set out materials for close observational drawing before class.
Visual references
Contrasting visual languages ready to show. 08 / Visual references →
Worked example
Repeated observation → selected feature → first mark. 09 / Worked example →
Studio support
09 / Mark making →

03 /

Teach

Look → Observe → Identify a feature → Develop a first mark → Select → Critique → Reflect

Look

Begin with The Birth of Alexander. Ask students to look before contextual information is provided. Prompt direct observation first, then introduce context and ask what changes in their reading.

Model

Use the cat visual-diary example to model repeated observation → noticed feature → first mark. Show how close looking makes recurring lines, shapes and features noticeable.

Artist possibilities

Use the artists and artworks in the Student Studio Guide. Explain that visual language may use recognisable marks, words, figures and symbols. Students are not required to make their source unrecognisable.

Make

Students select something familiar, personally meaningful or recurring and record it through close observation. They identify one line, shape or feature that continues to matter.

Select

Students isolate and develop one feature into a first mark while keeping a meaningful connection to the source.

Critique

Use the Critique + Feedback structure to discuss what is visible, what the mark carries from the source and what may be worth developing.

Reflect

Students record what they selected, why they selected it and what they may carry into Lesson 02.


04 /

Questions

Looking moves too quickly
What can you point to before you explain what it might mean?
Observation and interpretation merge
What do you see? What does that visible detail make you think?
Cannot choose a source
What is something familiar, meaningful or recurring in your life?
Nothing stands out
Which line, shape or feature has appeared more than once as you looked and drew?
Feature feels arbitrary
Which feature still matters when you think about the source?
Cannot make a selection
Which first mark keeps the clearest connection to your source? What makes you say that?
Connection is unclear
What does this mark carry from the source? Point to the evidence in both.
Responding to feedback
What did your peer notice? What might be worth carrying into Lesson 02?

05 /

Support

1 / Brief cue
Give one short cue while the student keeps looking. “Point to one feature that keeps returning.”
2 / Structured choice
Ask the student to circle two features that still connect to the source, then choose one to draw on its own.
3 / Model or direct guidance
Model the move from repeated observation to a noticed feature and first mark. Name what you can see, then ask the student to identify the equivalent move in their own source.

06 /

Assess

Teacher looks for
  • direct observation before interpretation
  • a source that is familiar, meaningful or recurring
  • identification of a visual feature
  • development of that feature into a first mark
  • a deliberate selection
  • an explanation connecting the mark to its source
  • participation in critique and reflection
Evidence produced
  • first-looking response
  • source observation or drawing
  • selected feature
  • first marks
  • selected mark
  • critique or reflection
After the lesson

Read the student reflections alongside their visual diary work, your questioning and observations from the lesson.

Look for:

  • what students can now explain or do
  • common points of uncertainty
  • students who still need modelling or a worked example
  • students ready to work with greater independence

Use this evidence when planning the next lesson. You might:

  • revisit one idea
  • model something again
  • provide a scaffold to a small group
  • adjust pacing
  • change a resource or example
  • reduce support where students are ready

07 /

Resources

Class presentation
Week 1 / Mark + meaning →
Studio Building Block
09 / Mark making →
Studio Guide
Mark making →

08 /

Visual references

Visual material used to introduce contrasting approaches to mark and visual language. External artworks are source-linked only; they are not reproduced here.

Master of the Jardin de vertueuse consolation and assistant

The Birth of Alexander

about 1470–1475
Tempera colours, gold leaf, gold paint and ink on parchment

The J. Paul Getty Museum

VIEW ARTWORK ↗

Saul Steinberg

Line drawing study, cat and guitarist

Drawing
The Saul Steinberg Foundation

VIEW ARTWORK ↗

Constant

Fauna

1949
Stichting Constant catalogue

VIEW ARTWORK ↗

Jean-Michel Basquiat

Untitled (Crown)

1982
Estate of Jean-Michel Basquiat

VIEW ARTWORK ↗

Yayoi Kusama

Infinity Nets

1951
The Museum of Modern Art, New York

VIEW ARTWORK ↗

Cy Twombly

Untitled

January 1989
Cy Twombly Foundation

VIEW ARTWORK ↗

Mira Schendel

Untitled from Graphic Objects (Objetos gráficos)

1967
The Museum of Modern Art, New York

VIEW ARTWORK ↗

09 /

Worked example

Repeated observation → Selected feature → First mark

Repeated observation

Open sketchbook showing direct graphite observations of a cat in varied poses and close-up studies of its features.
CAT VISUAL DIARY STUDY / MULTIPLE ATTEMPTS ACROSS ONE PAGE
Visual material: Studio work, 2026.View large ↗Download ↓

Selected feature → first mark

Open sketchbook showing cat forms reduced into ears, back curves, tails, eyes, whiskers and other extracted marks.
A FEATURE FROM THE CAT STUDY BEGINNING TO STAND ON ITS OWN
Visual material: Studio work, 2026.View large ↗Download ↓