How do I submit a media file as an assignment submission?
You can upload a video or audio file to submit as an assignment in Canvas. You can also use Canvas to record an audio or video file to submit as an assignment. Before submitting an assignment, you may want to review all assignment information, such as the assignment rubric, if any. You can also submit assignments using your Android or iOS device.
To learn more about available options for using media files in Canvas, view the Canvas Media Comparison resource document.
- Canvas will not accept media uploads larger than 500 MB.
- Your instructor will decide what type of submissions are allowed. One or both of these options may not be available. You may also have the option to resubmit assignments if your instructor allows.
- Not all of your assignments may be submitted online. If you cannot see the Submit Assignment link, your instructor may want you to submit your assignment in a different way, or the availability date has passed. View the description of the assignment for instructions, or contact your instructor for assistance.
- If enabled in your account, Canvas plays a celebration animation when you submit an assignment on time. However, if you prefer, you can disable this feature setting in your user settings.
- If the assignment you are accessing displays differently, your assignment may be using the Assignment Enhancements feature.
Open Assignments
In Course Navigation, click the Assignments link.
Open Assignment
Click the name of the assignment.
Submit Assignment
Click the Start Assignment button.
Note: If you cannot see the Start Assignment button, your instructor may not want you to submit your assignment online or the availability date has passed. View the description of the assignment for instructions, or contact your instructor for assistance.
View Final Grade Notice
A banner may appear above your assignment to indicate that your instructor has removed the assignment from total grade calculations. However, this setting does not affect assignment submissions.
Select Media
To open the media upload tool, select the Media tab [1] and click the Record/Upload Media button [2].
Record Media
You have the option to record video or record audio to upload to the assignment.
To select a microphone for your recording, click the Mic button [1]. To select a webcam, or, to turn the webcam off for audio-only recordings, click the Webcam button [2].
Note: If you receive an error that says, “Media comment uploading has not been set up properly,” please contact your instructor.
Upload Media
You can upload an audio file [1] or a upload a video file [2] to your assignment. The process is the same for both.
Select Media File
Select the file you want to upload and click Open to begin uploading the file.
Monitor File Upload
Monitor the file upload. The uploading process will finish automatically.
Submit Assignment
View your media recording upload in the assignment submission box [1]. You can add text comments to your recording [2].
To replace the recorded or uploaded media before submitting your assignment, refresh your web browser and record or upload your media again.
To submit your recording, click the Submit Assignment button [3].
View Submitted Assignment
The Sidebar displays information about your submission [1].
If allowed by your instructor, you may choose to resubmit another version of your assignment by clicking the New Attempt button [2]. You will only be able to view the details of your most recent submission in the Sidebar, but your instructor will be able to see all of your submissions.
Once the instructor has graded your submission, the Grades link in Course Navigation displays a grading indicator. You can also see details about your assignment and links to additional feedback in your Grades page.
- After submitting an assignment, the assignment will still appear in Assignments and in the Syllabus; the listing is not removed with assignment submissions.
- When you resubmit an assignment, you can only access and view your most recent submission. However, instructors can view all of your submissions.
> River, Creek and Stream
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- Reflections Edge
- Small Stillwaters III
- Rock Skipping
- Eiffel Tower
- Moon on the Bayou
- Solitude
- Mountain River And Colorful Mountains Of Colorado
- Sunrise on Lake Clark in Lake Clark National Park, Southcentral, Alaska, HDR image
- Beautiful Berea Falls In Autumn, Ohio
- Fuji No Yukei (An Evening View Of Fuji) By Utagawa Kuniyoshi
- New England Covered Bridge
- Virgin River Bridge, Zion National Park
- Oak Creek With Cathedral Rock, Sedona, Arizona
- Stream with trees in a forest in autumn, Nova Scotia, Canada
- Reflections and Memories
- New Hampshire, White Mountains National Forest, River flowing through the wilderness
- Drinking at River
- Morning Paddle
- Reflections I
- Zion National Park – Virgin River
- Boston City Skyline at Night
- Change Of Scene II
- Morning On the Seine, 1898
- Texas Wildflowers At Sunrise
- Fall in New Hampshire
- Colorado river running through the Grand Canyon
- Branch of the Seine near Giverny, 1897
- Grand Canyon National Park, Colorado River
- Panoramic Pittsburgh City Skyline at Night
- Japanese Footbridge And the Water Lily Pool, Giverny, 1899
- Hope
- Lakeside Mountain I
- Bridal Veil Falls Yosemite National Park CA
- The Epte River near Giverny
- River Bank I
- Trout Stream I
- Natures Voice
- Merced River Rafting – Yosemite National Park, California: Retro Travel Poster
- Big Ben and Westminster Bridge At Sunset, London, England
- Dancing Light
- Wooded Stream II
- Boston City Skyline at Sunset
- Waterfall Miyazaki Japan
- Winter’s Dream
- Snake River & Grand Teton WY
- Swift River Autumn Scenic, White Mountains National Forest, New
- River flowing through a forest
- Brilliant Fall Foliage on the Guadalupe River in Texas with Gnarly Roots
Constable’s Great Landscapes: The Six-Foot Paintings
Constable grew up in East Bergholt, a village nestled in the Stour River valley of Suffolk County in the southeast of England. The rustic countryside was dominated by the meandering waterway, which had been made navigable for barge traffic in the eighteenth century. Though its gentle terrain lacked the sort of grand vistas and dramatic mountain scenery traditionally favored by landscape artists, Constable believed the Stour valley had set him on the path to his life’s work, and he chose it as his primary subject for much of his career. The area became so associated with his painting that even during his lifetime it was called “Constable Country.”
Constable’s father was a prosperous merchant who expected him to take over the family milling business. Eventually he allowed his son, at the relatively late age of twenty-two, to enroll in the school of the Royal Academy in London, the leading British art society. Its annual exhibitions were crucial for establishing reputations, and Constable made his debut there in 1802. At first the young artist studied the landscapes of the old masters, but he soon decided that his painting would improve only by working directly from nature. During the summers, he returned home to Suffolk to create outdoor drawings and sketches that became the foundation for later studio paintings. As he explained to a friend, “Nature is the fountain’s head, the source from whence all originality must spring.”
Constable developed his craft slowly, continually reexamining his technique in the wake of criticism that his “finish” (the level of detail and overall surface effect) suffered from coarseness of handling. He voiced his own desire to overcome a certain bleakness in his finished studio work. Attempting to capture the brilliant light of the outdoors, in 1814 he began painting canvases in the open air, with striking results. One example is Wivenhoe Park, Essex, 1816, an extraordinarily fresh view of a friend’s estate. Using finely executed brushwork, Constable carefully arranged a wealth of details across the wide vista, punctuating it with areas of light and shade to convey the radiance of a summer day. Synthesizing so many elements into a harmonious composition proved a useful exercise for his later large canvases.
Flatford Mill (“Scene on a navigable river”), 1817, was also completed primarily outdoors. It was Constable’s most ambitious painting to date — a large depiction of working life along the river and an important step toward the six-foot paintings. The subject was one he knew intimately from his childhood: the view faces toward the red brick buildings of his father’s mill, just beyond the river on which two barges head upstream. They have just been unhooked from the tow horse in order to be poled under the bridge (indicated by the timbers in the lower left foreground). The fine execution of this intricately rendered canvas drew much praise when it was exhibited, encouraging Constable to move on to his even larger canvases.
Wivenhoe Park, Essex, 1816, oil on canvas, Widener Collection, 1942.9.10
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This impressive painting, the forerunner of Constable’s great six-foot Stour scenes and then the largest known work by him, depicts a view toward his father’s mill at Flatford. Corn ground in the mill was shipped in barges down the Stour, which had been made navigable by dredging and the installation of locks. After being unloaded, the barges were filled with coal or other cargo and towed by horses upriver. Constable based the painting on a drawing and worked on it extensively outdoors at the site.
Flatford Mill (“Scene on a navigable river”), 1817, oil on canvas, Tate Britain, bequeathed by Miss Isabel Constable as the Gift of Maria Louisa, Isabel and Lionel Bicknell Constable, 1888
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Early Six-Foot Stour River Paintings
In 1816 Constable married his longtime sweetheart Maria Bicknell, granddaughter of the rector of East Bergholt. The couple settled in London, where the pressures of their growing family weighed heavily on the artist, who, at the age of forty, had yet to attain membership in the Royal Academy. His desire for greater professional recognition may have prompted his bold decision, in 1818, to begin working on monumental canvases intended to rival the landscapes of not only the old masters, but also his celebrated contemporary J.M.W. Turner. Over the next fourteen years Constable submitted the six-foot paintings regularly to exhibitions at the academy; size alone guaranteed these works would be noticed.
For the first six of these great landscapes, Constable chose the subject he knew best: daily life along the Stour River. In 1819 he exhibited The White Horse, an unassuming narrative of a tow horse being ferried from one bank of the river to another. Presented in heroic dimensions, this subject challenged the very conventions of landscape painting, which held that biblical, historical, or mythological themes set within idealized landscapes were alone capable of conveying significant moral or intellectual meaning and thus suited to grandeur of scale. The quiet rural scenes favored by Constable were thought appropriate for more modest canvases. Yet the sheer vitality of The White Horse, with its lush handling and fidelity to nature, earned Constable much critical acclaim. Soon thereafter he was voted an associate member of the academy.
While his smaller paintings could be developed easily from sketches painted from nature, Constable realized that the six-footers presented a new and complex set of technical challenges with regard to composition and level of finish, especially as he was unable to paint them outdoors directly before his subject. Rethinking the demands of his art, he undertook the remarkable step of creating full-scale sketches to try out his ideas. Although artists traditionally had used full-sized drawings on paper to help prepare their canvases, composing a preliminary full-scale sketch in oil on canvas for a large exhibition work was unprecedented. The sketches are powerful works in their own right and are widely admired today for their immediacy and vigorous brushwork. To Constable, however, they were considered to be simply the means to an end, and he kept them in his studio, never displaying or selling them. He in effect painted each composition twice — with all the commitment of time, effort, and expense (for materials) which that entailed — but he received critical attention and payment for only the finished work.
Constable seemed to tackle each full-scale sketch anew, never settling on a compositional formula. None of the sketches corresponds exactly with the resultant finished work; Constable added, removed, and rearranged elements in both sketches and final versions, continually rethinking and perfecting along the way. For example, the central foreground figures of the boy and horse in The Hay Wain (full-size sketch), c. 1820, the preliminary sketch for the third of his six-footers, were originally also included in the celebrated final version from 1821. Constable subsequently painted them out, thus sharpening the focus on the wagon, the crux of the picture. The sketch’s quick, broad strokes plot out the scene; large passages of the dark brown ground were left untouched. In comparison, the finished version is fluidly painted, rich in both coloring and description.
Like the other Stour River scenes, The Hay Wain depicts a workaday subject set in a specific place (the house to the left belonged to a tenant farmer, Willy Lott). Yet the title under which Constable originally exhibited the work, Landscape: Noon, suggests a more generalized intent, removing it from the realm of topographical painting and placing it within the more esteemed tradition of representing the cycles and moods of nature. The painting, which has since become Constable’s most famous image, was shown in Paris in 1824. The expressive force of its execution, with its rich layering of pigment, had a profound effect on French artists such as Eugène Delacroix.
The Hay Wain (full-size sketch), c. 1820, Victoria and Albert Museum, London, bequeathed by Mr. Henry Vaughan
