1000+ Pictures for Teacher to Copy

Đây là cuốn sách rất hữu dụng cho tất cả mọi người nói chung và những người làm giáo viên Anh ngữ nói riêng bởi nó cung cấp những cách thức làm sao để có thể tạo ra được các hình minh họa Tiếng Anh một cách dễ dàng nhất mà không tốn nhiều công sức cũng như phải yêu cầu có năng khiếu trong lĩnh vực hội họa. Tất cả mọi điều bạn cần làm chỉ là copy theo!

g 3

Contents and Introduction

4 Illustrated vocabulary and grammar 84

6 Some basic ways of using pictures in

advantages: thev are quick to do; their content can be

determined exactlv bv vou, the teacher; thev are easv tc)

reproduce But manv teachers think thev c.rnnot drau'l

Or if thev can clrau' the'v feel ther have not got etrt,ltglt

time

This book is based on years of enjov.rble experie'nce'

gained in helping teachers to learn hon' to c-iran' tn over

thirtv countries It contains a care'ful intrtttiuction ttr

dran ing and over one thorrsand clrarvirrgs for teachers tr-r

coPi/

Who might use this book?

The rnain users of this book u'ill be langrrage teache'rs

Hor,r'ever, teachers of othe'r subjccts, arrd ir-rdeecl anvone'

r,r'hose job involvt's commttnici'ttiort, rt'ill finrl this

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 :

sociologists, vouth leaders, voga teachers as r,r'ell as

teachers of historr,, geographv anc-l ecttnomics u'ho make

use of simple rc'pre'sc'ntations With the examp)t': givt'tt

in this book, teachers and their stuc'lcnts ctrn drar'r' their

orvn pictures r,r'itl-r computer softu'are clr.rn'ing packages

as lt'ell ;rs lnore trac'litionallv on thc' boarcl, on hanclouts

a n d i n d i s p l a v s

Copying the pictures

B v c o p v i n g I r n e a n , lo o L i n g a t t h r ' p i c t t r r e s ir 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'n stttdents I'ermissittn to m;rke

multiple' copies is not gra ntecl for itny other

circumstances except r'r'ith erprcss pcrmission givert b1

tl.re publisher

The organisation of the book and the selection

of language itemsThe se.lection, topics and larrguage items in this book areb.rserl on the T/rrcs/lo/rl Lct,cl , a clocume.nt producec'l bvtire Cor-rncil of Europe for language svllabus designers Ihave also referrecl to the Cnrlhrill,gt' Erg/ls/r Lc,rlcon

Language is enormouslv rich A r,r'orcl can have nranvmeanings depe.nding on context I have had to besr.lcctive and have ofte.n onlv been able to illustrate orre

of se.,'e.ral possiblc mearring: I have rrrnitted conceptsthat are impossible to represent pictori.rllv ancl languageite.ms lvhich are re.latir.e.lt inirr.tluent, r.c rr'ithin stages 5

or 6 of the Canrbridge English Lexicon

Onlt' rarclv can a picture contmunicate the samernc'aning to evervone n'ho sees it The role of piciures in

t l r i s b r t t r k i : t r ) c ( ) n t r i h u t c to t h t ' l e , r r n i n g r ' f m e r n i n gerperienced bv the learner rs prrt ot a situ.rtitrn: referred

k r i n a c o n r e r s a t i o n , i l l r r s t r a t i n s r s t o r ) ' ( r r a s p a r t o f agar-ne It is the experience of the situation as a n holer,''hich helps thc lcarne.r to build up a sense of then-reaning or mcanings of thc langr.rage (For r-nore on thetcaching of me.aninc sc.e pagc 128)

StereotypingThere has been no attemDt to reDrese.nt clifferent racial

t r p r ' * i r t t l r e d r , r t r ' i t t g ir r L l r i t r t ' r t r k T h e r e S,etter,tli*t'd'pot.rto' he.rcls are me.lnt to represent all of us! The r-rse of

of the pictures in tlie book for languare te.aching Marrv

oi the inclivitir"ral pictrrres have been motlifiecl The inclexno'"r' incorporates Arnerican crs \r'ell as tsritish English

Acknowledgement and thanks

I r.r'otrlcl like to thank thc r-n.urv, r-nanv te.rchcrs rvho h.rr.e

p a s s e d o 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 dmacle their suggestions ior changr.s in the nerv eclition Iparticul.rrlr' \\'alrt t() thank I'aula Saudhan'r rncl JuliaDlrcl.rs, foi p.rssing on their experience to nte and forr-nakir-rg so manv helpir-rI snggestions

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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

t o c o p y m y s o l i d p e o p l e m u c h m o r e e a s i l y Similarly with the settings: when you learn

h o w I h a v e a v o i d e d u s i n g p e r s p e c t i v e , y o u

w i l l b e a b l e t o c o p y t h e m m u c h m o r e e a s i l y

S o , p l e a s e , e v e n if y o u a r e o n l y g o i n g t o c o p y the pictures in this book (and not produce your own), do look through this first section.

T h a n k s

Materials and techniques

Card or paper Teachers' flash cards should certainly be on card and not paper Card lasts longer and is

t h e c l a s s

C o l o u r

I t i s s o t e m p i i n g t o u s e lo t s o f b r i g h t c o l o u r s in 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

o r a n g e ;

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

stickpeople

F

and that is all you need for copying the drawings in this book Indeed, it is the basic

Amazing facts about the human body

The head and body are equal in length to the length of the legs.

The arms are as long as the body.

More amazing facts

elbows are halfway down the arms and point backwards

knees are halfway down the legs and point forwards

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clo se the whdovts O,td loch- the doors in Cate Wu afe laoh.e d bpon aad Jadged lo bec.azy!

We can only interpret a stickperson's

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.

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How to draw

stickpeople

C o p y t h e s e d r a w i n g s S t a r t w i t h t h e b o d y

Make drawings from these photographs, stick by stick Start with the body.

Compare the angles with vertical and horizontal lines.

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Start u'ith the chair, then do the body.

Copy the angles exactly!

Slighb charyes oF angle illus1raLe diFFerznb waqs oF wolking ar',il ,runniXg, and Jo, ev"n epr.sent dif?err^L (*t, fon-s.-

Balance Tnis batle? dancer is fuung

ove( Decause her we$ht

5he co,"lL prl[ trp

fue box (,

How to draw

boxpeople

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Box people are useful because they have

character and can be seen more easily than

s t i c k p e o p l e in a c o m p l i c a t e d p i c t u r e

Tne vifat acfion o{ the borperson ts achtcved exac?ly lius

L1naY o( q Sl'icKpe rson llo,rtever, sf*r( wilh the body

Wha( sorL o( bod'y d,o yan want lo give hru or her?

C h o o s e o n e !

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qcdon you wanl prau Lhe lr'nbs kom lhe corners o( lhe box.

Draur ln fhe heds and hands.

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linrbs.

fun|ta bodrcs

by lhe ftrhniqnz )i,ren he r<

3 in fhe eyes av$l nose firs( : thrU 4on'( Shou,r QXPrc-et|on in

ses can beg rn fo sho"r ina{iu id.uqb

rn plz dra ut t ng ftooev er , no

lon have tltree lines le{t,6na for the 7y16wth cnd, fi"Jo -for the eyebroc.ts Nirh thes? Ilnes on ev(ra.ord.t'n^rU nuMber d ex?resrIons cqn be

rndde tbueler, c,s tn li(e the h,crLl cypresrions fou r.o[e uitl

Low eyebrows show concentration.

Angled eyebrows show pain.

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The eyebrows rise

in the centre There

m u s t b e a g a p

between them or he

will look too

d e t e r m i n e d T h e

mouth turns down.

The eyebrows are

n o w s l i g h t l y concave - this gives

t h a t l o o k o f p a i n

T h e m o u t h i s n o w

l o n g e r a n d w e a k e r and further down.

Eyebrows still more concave and further

a p a r t T h e m o u t h ,

d o w n - t u m e d , i s weakly down more

o n o n e s i d e

Now the head is back The brows are nearer the eyes due to the concentration

o f t h e o u t b u r s t The mouth must

Mouth shows hint

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m o u t h l o o k s a l i t t l e weak - perhaps because it is rather

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The eyebrows are now nearer to the eyes and nearer to the centre The

m o u t h i s b u n c h e d and a little nearer

t h e n o s e

The eyebrows now touch the eyes They nearly meet and they

t i p d o w n w a r d s

t o w a r d s t h e c e n t r e

One eyebrow rests

o n t h e e y e : th e other has flown upwards There

i s a c o m p r e s s e d fold of skin between the eyebrows Note the corner of the

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How to draw

faces

The secreg o( loo4ctrtg younger and, youngerf

Draw Arc {ea(ures sfraller and lower.

Fron tull tace lo Profile

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mischievous miserable mistrustful

obstinate optimistic perplexed prudish

rude sly susPrclous thoughtful

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How to make more individual faces

Dlfteren( 0ttes ,cloEhes,hai{ maRe all thedikftnce !

c a r i c a t u r e i n w o r d s Try it with the caricatures drawn above.

Look at them for a few moments, describe them to yourself, and then, remembering this verbal description, try to draw them from memory.

How to draw

caricatures

Itake use of s.hapes yd^ @'1 gwe ^ wavd 1o'.

ha1 ar< easitr to renember.

big pear bod'y Squa(e sh.r'rE

t1nin legs high heels

sly sm ile qqare body

fighting

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How to draw

carlcatures

the students decide where the schools hospital, etc should be.

How to draw

SCCNCS

There must be a context for things to

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proportions of the basic shape(s) and secondly the angles of the edges of the

s h a p e

Aasi shwe of ob)eclt

-lf you wavt( to raake a drauttg ol- a car, fi* of ^ll f+ t

Tlacx ore tlp otttg +* W6;t4s fD bnsvev 0t fl^ts stage

Wh:er\ yau have [ot tl* popotior't ol $e nMtA rettanqle arred.

krok (or inpdtTr;t nternal shapes aM gek dte a,ngli: correct.

Now yaa have qov the ,, aLr popa/nov-ts anrJ shapes correot yot u,^ ad.d t'hc few wselhd deJaiJr,^JurLh wil'l on(trr {o the vtewQx #rat 't is 6 cdt.

How to draw

animals and obiects

Here are examples

o f h o w t o f i n d b a s i c

shapes in a variety of

creatures.

O n c e y o u h a v e t h i s

basic shape you can

put in a few important

curves and details.

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find a rcc(angk uhtch errcloses the nwn Shape

"( the qntrnal o,

aQlect Qet the proporfions o{

the ftc(atgle corfect and qou

Mob, if is tnnch easter bjndge

the gfoporftons af a reol'an7te tlp.n o{ ^ cfcl< o{ oval

Trq {ofina 4 re{al\gle{or l6is

S he.ep

drawngs and hou t1ou Can bpq

get the propofiionc o{- th<

How to draw :

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_}-animals and obj ects

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and avoid perspective How to draw

Here are two more There are many more

in the section on settings.

O n t h e r i g h t n e a r l y a l l t h e l i n e s o f t h e

f u r n i t u r e a n d t h e b u i l d i n g s a r e e i t h e r

v e r t i c a l o r h o r i z o n t a l A l s o n o t e th a t t h e chairs, the table and the people's feet are

How to draw

Of course, when you draw something'flat

on', without perspective, you must still

make decisions You must decide which

view to take Some objects are easier to

recognise from the front, some from the

s i d e

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Televisions are most easily recognised

from the front.

Chairs are most easily recognised from the

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A Traditional page design Is it boring or dignified? It depends what it's forl

B The 'ragged' right hand edge of text adds informality and interest.

C Centralising (so easy with word processors)is attractive.

D Two-column designs are ordered but flexible to different elements.

E Displays can be as ordered or as chaotic as you wish.

F Underlying two column design gives order to an informal display.

G An example of really beginning to plav with shapes and composition.

Suitable perhaps for a poster.

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35

-On page 37 I have drawn one of the pictures

of the street in perspective in order to

demonstrate that there is no particular gain.

If you draw flatly across the picture all the

line For example, draw all the stickpeople with

a thick line and the background with a thin line.

Another way of separating people away from

the background is to draw them as solid people

For uses of settings by language teachers,

see Section 6, pages 128-736.

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Park and garden

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Terrace and countryside

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Beach and mountains :

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-Dining room

Settings

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Sitting room and bedroom

Settings :

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Baker and superrnarket

Restaurant and caf6

Travel agent and hotel

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Classroom and police station

Library and museum

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Art gallery and cinema

3 Topics,

behaviout, notions

How to draw

In order to copy these drawings you will have

to make judgements about angles and

pro-portions Have you looked at Section l How to

draw?

Subiects covered

The subjects are taken from the Council of

Europe Threshold Leuel contents list I have

omitted Education - you will find some pictorial

reference in Section 2 Household articles are

u n d e r ' H o u s e a n d h o m e '

Ambiguity

These pictures are not expected to illustrate

unambiguously the word you are trying to teach

( s e e introduction).

Note

Most of the settings on page 23 need to be

simplified if you copy them out yourself I

recommend you use photocopies of this page

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E- Topics, behaviour, notions

thin-faced beard

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fringe/ponytail plait

dark-haired straight

fair-haired wavy

bald dark-haired

curly

55