Tài liệu 1000 pic for teachers to copy

4 - 1000+Pictures for Teachersto Copy AndrewWright q,v,f J I k\_ | i'€ {,tzs LU}f J.r,! g3 L-. Contentsand Introduction -> : : !} ! 1 How to draw 2 Settings 3 The organisation of the book and the selection of language items +=- 36 The se.lection,topics and larrguageitems in this book are 54 b.rserl on the T/rrcs/lo/rlLct,cl, a clocume.nt producec'l bv Topics, behaviour, notions 3 tire Cor-rncilof Europe for language svllabus designers.I 84 have also referreclto the Cnrlhrill,gt'Erg/ls/rLc,rlcon. Illustrated vocabulary and grammar 4 Language is enormouslv rich. A r,r'orclcan have nranv meanings depe.nding on context. I have had to be 118 Pictures for composition 5 sr.lcctive.and have.ofte.nonlv been able to illustrate orre of se.,'e.ral possiblc.mearring:. I have rrrnitted concepts Some basic ways of using pictures in 6 128 that are impossible to represent pictori.rllv ancl language language teaching ite.mslvhich are re.latir.e.ltinirr.tluent,r.c. rr'ithin stages5 1,36 or 6 of the Canrbridge English Lexicon. Further reading Onlt' rarclv can a picture contmunicate the same 137 rnc'aningto evervone n'ho seesit. The role of piciures in Index t l r i s b r t t r k i : t r ) c ( ) n t r i h u t ct o t h t ' l e , r r n i n g r ' f m e . r n i n g erperienced bv the learner .rsprrt ot a situ.rtitrn:referred k r i n a c o n r . e r s a t i o ni,l l r r s t r a t i n sr s t o r ) ' ( r r a s p a r t o f a gar-ne.It is the experience of the situation as a n hole r,''hich helps thc lcarne.r to build up a sense of the (For r-noreon the M a n y t e a c h e r s r e c o g n i s e t h e ' t t s e f u l n e s s o f * i r t r p l e n-reaningor mcanings of thc langr.rage. 128). tcaching of me.aninc sc.e pagc. dran'ings in their te.rching. Dran'ings have tnan"' advantages: thev are quick to do; their content can be determined exactlv bv vou, the teacher;thev are easv tc) Stereotyping reproduce. But manv teachersthink thev c.rnnot drau'l There has been no attemDt to reDrese.ntclifferent racial Or if thev can clrau' the'v feel ther. have not got etrt,ltglt t r p r ' * i r t t l r e d r , r t r ' i t t g . i r r L l r i . t r t ' r t r kT. h e r e S,etter,tli*t'd 'pot.rto' time. he.rclsare me.lnt to representall of us! The r-rseof This book is based on years of enjov.rble experie'nce' s t e r c t r t v p i c r l , r . r c i . - r ls v m b o l s h a s b c c n r e . j e . c t e cal s gained in helping teachersto learn hon' to c-iran'tn over rrr-rdesirable.. thirtv countries. It contains a care'ful intrtttiuction ttr dran ing and over one thorrsandclrarvirrgsfor teacherstr-r T h i s n e w e d i t i o n coPi/ 1000 PrcluHr,sr,orrTr,.rcrrF-Jts r() Colv has been usc'd bv teachers in countries all over the n'orltl. Some tcacher-s Who might use this book? have said that thev rvoulcl n()t bc n'ithout itl The rnain users of this book u'ill be langrrage teache'rs. \ e ' r ' e r t h e l e s s , s u g g e s t i o n s h a v e b c ' e n m a c l e f o r i t s anvone' i ) n p r ( ) \ ' c m c n itr r t l r eJ i g l i to i t l t i r r , ri t l t ' - r . r r r g i r rLg' \ F e r i r n ( ' H Hor,r'ever,teachersof othe'r subjccts,arrd ir-rdeecl r,r'hose job involvt's commttnici'ttiort, rt'ill finrl this of use in so lrr;lnv classrooms.ln this neu' cclitior-rthere m a t e r i a l r c l e v a n t . I h a r . e m e t s p c e c h t l r e r , r p i s t : . are sixteenertra pages.Additions inclucle:more pages of sociologists, vouth leaders, voga teachers as r,r'ell as faces ir-rclrrclirrg hou. to look v()unger (.rlu'avs r-rsefulin teachersof historr,,geographv anc-lecttnomicsu'ho make these stressful times); ne\\' pJge\ illustrating tenses anrl With the examp)t': givt'tt phclnologv and nine mor€.pagcs on iclcasfor making use use of simple rc'pre'sc'ntations. in this book, teachersand their stuc'lcntsctrn drar'r'their of the pictures in tlie book for languare te.aching.Marrv orvn pictures r,r'itl-rcomputer softu'are clr.rn'ing packages oi the inclivitir"ralpictrrreshave been motlifiecl.The inclex as lt'ell ;rs lnore trac'litionallvon thc' boarcl,on hanclouts no'"r'incorporatesArnerican crs\r'ell as tsritishEnglish. and in displavs. Acknowledgement Copying = the pictures B v c o p v i n g I r n e a n , l o o L i n g a t t h r ' p i c t t r r e si r t t h e b o c t k and drarl,ing vour ()\vr1 r'e'rsions.I also mr'an that a teacher,having bought hi-. or her o\\'n copv nf the book, should feel that he or she can m(rke multiple copies ior use nith his or her or.r'nstttdents. I'ermissittn to m;rke multiple' copies is not gra ntecl for itny other circumstancesexcept r'r'ith erprcss pcrmission givert b1 tl.republisher. and thanks I r.r'otrlcllike to thank thc. r-n.urv,r-nanvte.rchcrsrvho h.rr.e p a s s e do n t o m e t h e i r p l t ' . r t u r r ' i r t u * r r r g t h i s b o o k a n d macle their suggestionsior changr.sin the nerv eclition. I particul.rrlr' \\'alrt t() thank I'aula Saudhan'r .rncl Julia Dlrcl.rs,foi p.rssing on their experience to nte and for r-nakir-rg so manv helpir-rIsnggestions. +a a a > F: -c !.l_ : ll-t- -!- .> > .> > E L tsz THow to draw --_ In the first section I have reproduced the way in which I help people to draw more effectively. The level is higher than you need for copying the drawings in this book. However, I have decided to put it at the beginning of the book becauseyou need basic help even for copying. Essentially, in order to copy (i.e. without photocopying!) you must: 1 judge proportions (is a line is longer or shorter than another, or a shape thicker or thinner); 2 judge the angle of the lines (whether they are lines or the edgesof shapes). These are the main things. However, it will also help you to study how I draw solid people. When you learn my approach you will be able to copy my solid people much more easily. Similarly with the settings: when you learn how I have avoided using perspective,you will be able to copy them much more easily. So, please,even if you are only going to copy the pictures in this book (and not produce your own), do look through this first section. Thanks. = "! Card or paper =-J - Materials and techniques --t E--l L-. Teachers' flash cards should certainly be on card and not paper. Card lasts longer and is easier to handle. For pupils it may be as cheap to use duplicated sheets rather than card. In Britain it is possible to get cheap or free offcuts of paper and card from printing houses. Adhesives -A ,4t Sometimes you may want to stick thin paper to card. You can: I use a rubber baseci glue which does not wrinkle the paper. Professionaldesignersdo this. 2 use a paste. If you use a paste put it on the thin paper and leave the paper to expand for some time before putting it onto the card. Photocopying 1 Don't go to the edge of your paper. 2 Don't use larger areas of black than your machine can reproduce. 3 If you stick smaller piecesof paper down so that the levels are different put typist's white opaque along the edges to remove the shadowed line. Grids To give a senseof organisation to your text and pictures arrange them within a frame and align their edges. A frame (in British English - a 'grid') may be made of one, two or even more columns. Tracing If your top piece of paper is too thick for you to see the image clearly put them both againsta window pane and copy it like that. How big? Letters should be about two cms high. But guiding rules like this are not very useful. Try a sample - see what it looks like from the back of the class. Colour It is so tempiing to use lots of bright coloursin order to please the students. Much better to choose colours for other purposes: 1 to make an object more recognisable if the shape is rather ordinary, for example, an orange; 2 to direct attention to something, particularly if it is small within a picture, for example, one person giving another a present. The people could be drawn in black line and the present in a colour; 3 to express feelings and to make the picture look nice! ,-<. -- How to draw .l:i stickpeople -1_ - Canyou seethe difference?Is A wider than B?Is F longer than D? : F-: D F +.- If you think A is wider and D is longerthen you canjudge anglesand proportions and that is all you need for copyingthe drawingsin this book. Indeed,it is the basic skill you need for doing objectivedrawingsof the highestorder. Amazing factsabout the human body The head and body are equalin length to the length of the legs. The arms are as long as the body. ,a f e3a More amazing facts tR ilr,irl,o"', { f F-- elbows are halfway down the arms and point backwards no hips,no hands knees are halfway down the legs and point forwards L\[m.mr'.'il$:s't'" =t- - + 1tr,#'!)* /, rL '^,nS I wishI c,oula Al e I =1- ;a- _ f,(ton ,4T:?T It ti"ut run tikeYou.l #l"i?"etut r r U io ""? l-_ -1 . l ^-,o(o\'' _t< e i? F E E =- How to draw stickpeople We canonly interpret a stickperson's actionsif he or shehas the sameessential featuresof a'real' person;so you must baseyour drawingson how peoplelook and move.The 'real'peopleyou copy could be you (yourself,actingout the ,(g position and copying each bit, starting with the body) or a friend or someone in a photo. Most artists study a photograph or a model if they are drawing something for the first time. lf you or youtftiend, ak achn!ouV a posrlton,then clo se the whdovts O,td loch- the doors in Cate Wu afe laoh.ed bpon aad Jadged lo bec.azy! Here are someactionsto copy. Study the anglesof the body, then the arms and legs.Judgethe anglesof eachbit by comparingit with eithera verticalor horizontalline. C' Copy theanglesexactlyas you seethem here and you will then have the same dynamicaction.And you CAN judge angles!You did it on page 4lIf you[et it *ro.rg, do it again! sp rt ' 6* rA::") ^( r'ot* (od "l) '-^,^ I *"*'?:,^-; i ild" I'ur?)eett *" . {de fi rt G ^ UI r d -- tID z = dr\c v Y-- v!j.Q "'.. .y6QLf " D('o^ ,,.4\c ^ r.rgrrrccs Urr'i,t^' on3\e l-ioi,'no.l"n*" I^ahu ""* ^*' r-J irv\t *lo - / 5od9' Nd:ff"i:'llj*'l "tffi T{"o&w.''';' C ;v- How to draw stickpeople t - + >=- C o p y t h e s ed r a w i n g s . S t a r tw i t h t h e b o d y . ts+I = = = l-- Start u'ith the chair, then do the body. > = > = > l F ] Make drawings from thesephotographs,stick by stick. Start with the body. Compare the angleswith vertical and horizontal lines. 1 !l- t-' l* lt L tL L : How to draw stickpeople Copy the angles exactly! SlighbcharyesoF angleillus1raLe diFFerznbwaqsoFwolking (*t, fon-s.ar',il ,runniXg,and Jo,.ev"nepr.sent dif?err^L Balance dancerisfuung Tnisbatle? ove( Decause her we$ht fue box(, is no{overher t*f Draw furnifure, cyclesfirst 5he co,"lL prl[ trp \innc- \ess uo,.=yJ*;4*#'o )r\A\v - ='{^ro- R-l) * t Characters * + =, r- a = : f1n \< L How to draw boxpeople +€ ts : ,1 E- L- Box people are useful becausethey have characterand can be seenmore easilythan s t i c k p e o p l e i n a c o m p l i c a t e dp i c t u r e . Tne vifatacfiono{ the borpersonts achtcvedexac?lylius rson. llo,rtever, o( q Sl'icKpe sf*r( wilh the body . L1naY Wha( sorL o( bod'yd,oyan want lo give hru or her? Chooseone! I[U^VAA 'lhen drcta shcRgcrson lrhbs in t-he Draw (ne bod.Vhrsf . qcdon you wanl . prau Lhe lr'nbs kom lhecorners o( lhebox. L.. .E-.- t"E_ rE. E e ei5* ==.t- L ] l-_ lt-- !* ]- t. L L L L L b E ! I Horv to draw boxpeople draw tn ltneS r?presentingfhe oth boxpeople _--. = I - >: 5 Here are urz.e rnor.eboxpeopleaUd'raon n the sa^e sfaSesas ou7h'neaaboe. Nofe ho.l linesdis oppear fun|ta bodrcs o( oVher linrbs. e=* E LF FF + F* =l'-: = = F 22 e \ \1 aF* tt- oF sfr'ctrp ec>plebeca,ns. {Woslo( th" drausingsin fhis booQ-are hry are fias? 7odo. l*owever, Yo6ca^ maUe a^q o( t!'terq solrd by lhe ftrhniqnz )i,ren her< . 10 EE E 2, -4 - How to draw 4 4 faces = -4 *ny rough arcl e willdo tor alace, parficularly if ir is i r r e g v t l a r a n d bumpy! '1 I P, 3 in fhe eyes av$l nose firs( : thrU 4on'( Shou,rQXPrc-et|onin Srn rn plz dra utt ng . ftooev er , noses can beg rn fo sho"r ina{iuid.uqb ,<1 ')' '(' cnd,fi"Jo-for theeyebroc.ts . lon have tltree lines le{t,6na for the 7y16wth Nirh thes? Ilneson ev(ra.ord.t'n^rUnuMber d ex?resrIonscqn be rndde. tbueler, c,stn li(e the h,crLl cypresrionsfou r.o[e uitl Y€rvratn arnbjkok-r . Facio,l expresrions con(fi'bwfe fo ye4rltnJ Yog e fhe u4 1Lo,h on, with o the r b o d y h rqu,u,vtic ah oa, r er b a.l h ;,11v1 " axpe.c.( df1' ons,oYe. S e tti rg a n d , fh e p e fcelver ' s lV is alrnos( rn^possib le Yodrad ovr eypresion{essfac< | rq if ! -. 1 q .- ' '(' \' \ J - J -r High eyebrows show surprise. Low eyebrows show concentration. Angled eyebrows show pain. .-: 11 : How to draw >- faces ] : == Qeftingsadder ! = = /\ 'L' ./\ '\' J 7s /"\ "t ;(; -\ t-_ > L t- The eyebrows rise in the centre. There must be a gap between them or he will look too determined.The mouth turns down. The eyebrows are now slightly concave- this gives that look of pain. The mouth is now longer and weaker and further down. Eyebrows still more concave and further apart.The mouth, down-tumed, is weakly down more on one side. Now the head is back. The brows are nearer the eyes due to the concentration of the outburst. The mouth must turn down. = L = 1 = = qettt'^g morc shrTrised, ]_ - /l A lt^ ')' '(o A 1 \. J o ^^ o\o J o =l- = += Arching eyebrows. S m a l l m o u t h ,i n t h i s casevery slightly upwards, giving a hint of pleasure. High eyebrows, not High eyebr ows. Surprisedhorror t o o c l o s et o g e t h e r . Smalleyes,rather Bulgingeyes. Tiny m outh. Slightly larger eyes. intense. Mouth shows hint of pleasure in the surnrise. + >- r > E > 72 = Z -'-;'*) Florv to draw I faces QeEhng hoppier ail the ?i,ye! A ^t tr ^ ' ^ '\' ( J v \./ T h e e y e b r o w sr i s e and curve. The mouth begins to curve upwards. T h e e v c b r o w sa r e not onlv high and rounded but are n o w f u r t h e ra p a r t . The mouth, of c o u r s e ,i s n o w a fuller smile. The distance between the eyebrows is so importantfor that s i m p l eo p e ns m i l e ts a Now the headgoes back(vou show this by placing all the features higher on t h e f a c e ) .T h e e y e s c l o s e .T h e m o u t h opens. Qettng qrirnner - 5 at. -L- -y b ^, This face is s u r p r i s e d ,a l m o s t sad! The eyebrows are rather high. The mouth looksa little weak - perhaps becauseit is rather low. = The eyebrows are now nearer to the eyes and nearer to the centre. The mouth is bunched and a little nearer the nose. The eyebrows now touch the eyes.They nearly meet and they tip downwards towards the centre. One eyebrow rests on the eye:the other has flown upwards. There is a compressed fold of skin between the eyebrows. Note the corner of the mouth is dou,tt. -, 13 - t-= -< How to draw E-, faces < F €*: youngerand,youngerf The secreg o( loo4ctrtg DrawArc{ea(uressfraller and lower. < =-: +: ts '\' P a e -- e ei+e e.:-= t-- _ z- Fron tull tace lo Profile +e-')' = a*F- Vpana dowt l-oofungsideways ,7 I!'-: F t-: ) \. =,- >'. 74 E z, ,,1-; .J -l -l How to draw faces = 1_ \.' 7".u o)o 1_ )-1 2t _1_ agonised angry anxtous arrogant a 7 --JL -)- -4 -:5 bitter blissful bored cautious .* -= aLa + ,,,,+ lr$ 4F, \- _* -< --- concentrating confident cold curious disapproving disgusted _.{ -* T - determined disappointed -4 ..- 15 :-- How to draw I faces > t--, g 7',\\aa t^FF.: = F. dismayed drunk ecstatic enraged FF -- v9 L lr- ,' =-= EL--. envious exasperated exhausted frightened -- !P F^\. 60 F-- frustrated hangover horrified hot >l- './ ll.-. \\ ., t- \- =- : thurt T6 hysterical indifferent innocent > E -4 -- -:. [- How to draw faces = *_ ;\\ Ez'Y * = F, -_ = : interested jealous kind lonely mischievous miserable mistrustful : = :s -dE : lovestruck -- = _-{ obstinate optimistic perplexed prudish -a 4 - rude sly susPrclous thoughtful 4 4 t t7 F- How to draw L-,= faces How to make more individual faces maReall thedikftnce ! Dlfteren(0ttes,cloEhes,hai{ u Yt fo U Ll + = > u(' oO L 9 = = j,=( l >> fft/ -= -: * oa e +-- ?fi,t r-taw OeE*tvl +-- ++G *_ =* F. 18 L t: _-* How to draw 4 caricatures 4, zj -1 = Essentially caricaturemeans exaggeration. I f s o m e o n eh a s a s q u a r i s hh e a c li t i s r n a d e s q u a r e .I f h e h a s a l o n g i s hp o i n t e dn o s ei t is drart'n'u'erylong anclr'ery pointed. P o s i t i o n c . ff e a t u r e s :i i t h e c. . v e sa r en e a rt h e t o p o f t h e h e a r dt h e . va r e d r . r w nr i f t h c .t o p o f the head. a - - = .: 1 -4 a a A real test of a caricatureis if vou can redraw it from memory. For people with p o o r v i s u a l m e m o r i e st h i s m e a n sb e i n g able to remember the appearanceof the c a r i c a t u r ei n w o r d s . Try it with the caricaturesdrawn above. Look at them for a few moments, describe them to yourself, and then, remembering this verbal description, try to draw them from memory. I9 + How to draw caricatures L = Itake useof s.hapesyd^ @'1gwe ^ wavd 1o'. ha1 ar< easitr to renember. ==- l-l \00 = t- !:> NV DD)>X F > Bu^ld wp yM out of hese b*s. canLc,hres -- ------ t-- b- eL_ E- 1- l._ 20