Drawing a Moving Lion: Memory and Observation

Overview

Students begin with a quick lion drawing from memory, then investigate a moving lion through observation. They develop a refined action drawing using felt pen, applying their present skills and art knowledge to communicate movement, texture and energy.

Learning intentions

• WALT develop a drawing using memory, observation and imagination.
• WALT use line, shape and proportion to show a moving animal.
• WALT make deliberate choices about pressure, contour, gesture and line direction.
• WALT describe how visual-art choices communicate movement and feeling.

Success criteria

• I can draw a clear action shape that shows what the lion is doing.
• I can use curved, varied and directional lines to show movement, fur and energy.
• I can change pressure to make some lines light and others dark.
• I can explain one choice I made and give kind, specific feedback to a partner.

Curriculum links

• Visual Arts — Developing Ideas: investigating and developing visual ideas in response to motivation, observation and imagination.
• Visual Arts — using art elements and processes to communicate ideas and respond to artworks.
• English — participating in discussions, explaining ideas and responding to others.
• Key competencies — thinking; managing self; relating to others; participating and contributing.

Lesson structure (45 minutes)

1. 0–5 min · Hook and memory drawing. Display the opening question and lion image and ask, “How can a drawing look as if it is moving?” Students make a fast 60-second lion drawing from memory on the back of their worksheet, without worrying about detail. Invite two or three observations about the lines and shapes they used.

2. 5–12 min · Observe and discuss. Play a short, suitable moving-lion clip or looped action image using the observation prompt and moving-lion sequence. Pause at different moments so students silently notice the lion’s body shape, legs, tail, mane and direction of travel. Ask: “Where is the weight?” “Which parts stretch or bend?” “What lines could show softness, speed or power?” Students use finger drawing in the air and share one observation with a partner.

3. 12–20 min · Teacher modelling. Model the refined drawing live, referring to the visual-art vocabulary and modelling steps. First draw a loose figurative action shape and gesture line, then add the head, body, legs and tail in proportion. Demonstrate:

• curved and varied line for fur, softness and form;
• light pressure for planning and soft texture;
• heavier pressure for the contour, shadow or important edges;
• line direction following the body, mane and movement;
• leaving some lines open rather than outlining everything.

Think aloud: “I am making the back curve in the direction the lion is moving. I will not add every hair; a few purposeful marks suggest fur.” Students practise three line types on the worksheet: light, dark and directional.

4. 20–34 min · Independent action drawing. Replay the moving-lion footage or image sequence from the step-by-step drawing instructions. Students create one refined action drawing on white cartridge paper with felt pen. Encourage them to begin with the whole action shape, then add proportion, contour and selected texture. Circulate and ask: “What is your lion doing?” “Which line shows its energy?” “Where could you vary pressure or direction?” Students may look between paused frames, but should make their own visual decisions.

5. 34–39 min · Gallery pause and peer feedback. Students place drawings on tables and walk quietly in groups, or hold work at arm’s length if space is limited. Using the prompts on the peer-feedback and reflection slides, each student tells a partner: “I notice…”, “The line that shows movement is…”, and “One idea to try next time is…”. Feedback must refer to an observable art choice, not whether the drawing is “good”.

6. 39–45 min · Reflect and next step. Students complete the short reflection on the drawing reflection section: “My lion is moving by…”, “I used ___ lines to show…”, and “Next time I will…”. Invite several students to share. Connect forward: in the next visual-arts session, students will use observation and line choices to develop another animal or human action drawing, adding background or setting to strengthen the story.

Resources

• the complete memory, observation, modelling and reflection deck
• the memory-drawing practice and reflection sheet
• Television or projector
• Short, age-appropriate moving-lion video or clear action image sequence
• White cartridge paper, one sheet per student
• Black felt pens, one per student or pair
• Scrap paper or drawing boards
• Drying/display space

Assessment

• Observe the memory drawing and questioning responses for prior knowledge of shape, proportion and movement.
• During modelling and independent work, check whether students begin with a gesture/action shape and use varied pressure, contour, texture and line direction purposefully.
• Use the reflection and partner feedback to identify whether students can explain how an art element communicates movement or energy.

Differentiation

• Support learners with a paused image, a simple body-shape demonstration and prompts such as “Start with the back curve” or “Show the direction with one long line.” Allow them to use fewer details and focus on one clear action.
• Provide a visual vocabulary prompt on the board: action shape, gesture, contour, proportion, curved line, pressure, texture and direction. Pair EAL learners with a supportive partner and accept pointing, drawing or oral responses.
• For learners who need help with fine-motor control, offer larger paper, a thicker felt pen, a drawing board or brief teacher-guided practice before the main drawing.
• Extend confident artists by asking them to show two contrasting movements, overlap body parts to suggest depth, or use line density and direction to communicate speed, weight or emotion.

Classroom management and safety: establish walking feet during the gallery pause, keep pens pointed down when moving, and use felt pens only on paper. Remind students not to wave pens, lean across tables or crowd the screen. Keep the video short and pause it regularly so observation remains purposeful.