The Teaching Portfolio of
Anna Doll
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Table of Contents
Resume…………………………………………………………………………………………….............3 Teaching Philosophy………………………………………………………………………………............6 Florida Educator Accomplished Practices Assessment…………………………………………………………………………………………............7 Communication………………………….…………………………………………………………..........9 Continuous Improvement…………………………………………………………………………..........11 Critical Thinking…………………………………………………………………………………............13 Diversity………………………………………………………………………………………….............15 Ethics……………………………………………………………………………………………….........17 Human Development and Learning………………………………………………………………...........19 Knowledge of Subject Matter…………………………………………………………………….............21 Learning Environment……………………………………………………………………………...........23 Planning………………………………………………………………………………………….............25 Role of the Teacher……………………………………………………………………………….............27 Technology……………………………….………………………………………………………............29 Lesson Plans Vincent Van Gogh Flowers……………….………………………………………………………............31 Clay Bowls……………………………….………………………………………………………............39 Art Galleries Student Gallery………………………….………………………………………………………….........45 Personal Gallery………………………….…………………………………………………………........49 Records Letters of Recommendation........................................................................................................................52 College Transcripts……………………….…………………………………………………………........53 Professional Educator’s Certificate...............………………………………………………………...........54 2
Anna Doll 850 Edgewater Drive ~ Orlando, Florida 32804 (407) 491-2663
annadoll@gmail.com
Education University of Florida Fall 2008-May 2012 Art Education Major focus in ceramics, Art History Minor GPA- 3.94 Relevant Coursework- Digital Media in Art Education, Teaching Art, Principles of Teaching Art, Teaching Diverse Populations, Content Area Literacy, ESOL Strategies Content, Ceramic Sculpture 1and 2, Throwing Skills/Concepts, 3D Ceramic Concepts, Figure Sculpture, Vessels 1, Visual Methods and Process, Perceptual Drawing, Painting Investigation B/W, Painting Investigation Color, Painting Exploration Series, Visual Literacy Photography, Greek Art History, Central African Art History, Late 20th Century Art History, History of Art 1 and 2 Work Experience Substitute Teacher- Alachua County Gainesville Fl Spring 2012 Intern - Alachua County Public Schools Spring 2012 • 11 week Full time art teacher internship at Glen Springs Elementary School. Worked with Sarah Katie Clifton, K-5 art teacher 1/3/2012-3/16/2012 Ceramics Assistant - University of Florida Summer 2011 • Model and assistant for Nan Smith, Professor of Art 6/2011-6/9 2011 Youth Counselor, City of Orlando • Ceramics Instructor 25 hours weekly for the City of Orlando teaching ceramics to underprivileged children at community centers. Worked under Kim Miller, Studio Director, through the downtown pottery studio. Community Service Assisted teaching two creative dance classes • On Saturday mornings for two hours weekly, teaching three and four year olds in 2006 3
Summer 2007
Resume continued
Dance therapy • Taught ESE student dance once a week for an hour in 2007 Participated in Paris Summer Project with Campus Crusade for Christ in 2010 Children’s Church • Once a month or twice a month for two hours Elementary school volunteering- College • Volunteered 35 hours at Duval elementary under the art teacher Mrs. Conroy • Volunteered 33 hours at Under Mrs. Kilpatrick and Ms Seebeck at Littlewood Elementary • Volunteer at the One Room School House once a week for a hour, tutoring reading, spring semester • Volunteered 12- 15 hours under Sherrie Pettigrew at Kimball Wiles Elementary School • volunteered 15-18 hours under Mrs. Henderson at Stephen Foster Elementary • Participated in six week after school art program at Glen Springs Elementary School Fall 2010 • Participation in art camps and the Imagination Station with the Art Education Club at UF 2008-2012 Honors, Awards and Recognitions: Ceramic awards and recognitions • Winter Park Art Festival spring of 2007 • Central Florida Fair spring of 2007 • Maitland Art Festival fall of 2007 • Ceramics Student of the Year 2007-08 for Edgewater High School • Oak Hall Show Spring 2011 • P.K. Young NEAE Chapter show (National Art Educators Association) Spring 2011 Invited to Join The Golden Key International Honor Society Dean’s List – College of Fine Arts, University 2008-2012, consecutive semesters Bright Futures Medallion Scholarship 2008-2012 Award Received in 2011 for high grade point average 4
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Teaching Philosophy
In order to create a conducive environment for teaching I believe that a teacher must have several important personal characteristics that will define how a classroom is run. Patience, creativity, knowledge of subject matter, a love of children, a willingness to continue learning, a passion for teaching art, and the ability to demand respect from students are a few of those crucial characteristics. These characteristics help to cultivate an environment in which students feel safe and free to experiment and express themselves through their artwork. Individual student feedback and care are also a necessary part of forming a rich environment, a place where stories can be told, moments captured, problems solved and adventures experienced. From my experience many children suffer from the “I can’t” mentality and lack self confidence. I consider the art room to be one of the best places to start transforming that perspective, since the art room allows a break from core classes and the use of more varied teaching styles. The art room is a refuge and outlet for many students. Including lessons plans that promote a high success rate and build self-esteem is important to correct that mentality. I treasure valuable one- onone time with students because I can help students work past their frustrations and give constructive suggestions. Making a connection to art history or to other subject areas in an art lesson is helpful for both inspiring students and reinforcing the importance of a new technique. It is necessary for students to understand that learning information from past great masters and contemporary artists encourages their personal artistic growth. As many have stated before, one must first learn the rules in order to break them. Once students have a basic foundation of artistic skill, then they can take what they know and create their own style. Interdisciplinary lessons build on skills students are learning in other content areas or introduce topic areas no longer taught due to time constraints and school’s current course emphasis. Therefore introducing lessons with examples of famous artworks and including trips to museums, teach students the history of art within different cultures, captivating their interest and spurring their own investigation. Cultivating problem solving and critical and creative thinking skills through use of higher order thinking questions is essential to student success in the art room and in other classes. Questions encourage students to consider that not everything has a definite answer and that problems have different solutions. Teaching students to creatively problem-solve sometimes means stepping back and letting them think instead of moving in to help. Once students have gained confidence in their critical and creative thinking skills in the art room they will implement those skills into work for other subject areas, increasing their general success. My aim as an art teacher is to teach students how to create, deeply think, problem solve and, to instill a passion in students to seek opening the door for them to expand their world.
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Assessment Within the classroom assessment is continual, happening nearly every second as students evaluate their artistic choices and teachers gauge student recall, student safety, direction following, and student work. Appearing in many forms, such as personal feedback, teacher self reflection, formal, and informal evaluation, assessment is essential to the success of the art room. Personal Feedback Artists of all ages are constantly evaluating and assessing their artistic choices in their work and requesting feedback. Much of this assessment occurs unconsciously in the classroom during studio time. While students are working on their projects, I visit with students, giving them constructive feedback and facilitating their creative thinking process as they think through problems.1-2
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Teacher Self Reflection Reflecting on the success of a lesson is a critical part of every project and typically occurs throughout and upon conclusion of a lesson. During the final weeks of my internship the fifth graders were building clay bowls. (see p. 39 for lesson plan ) Upon the completion of the lesson I answered questions pertaining to the success of my teaching.3 Responding to the questions caused me to really contemplate on why parts of the lesson were successful and what and how I could teach differently next time to achieve better results.
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Formal Assessment Formal assessment primarily occurs in two ways in the art room: first, through participation grade sheets and second, through final assessment rubrics based on Florida Sunshine State Standards. After each class leaves the art room, students receive a participation grade based on their behavior and effort for the day. When students or classes have a difficult day a note recording the incident is included at the bottom of the class participation sheet.4 This is advantageous in two ways. It serves as a reminder to make procedural changes the next time the class meets and provides a reference for parents who pose questions regarding their child’s grade. After three days of inappropriate behavior the child’s parent is contacted to resolve the behavior. At the end of each project students are graded using a rubric (see p. 31-39 of lesson plans for example).5 After completing the formal summative assessment rubric the grade is then recorded into an online grading program. Informal Assessment Informal assessment occurs at the beginning of each class as I review the main points and vocabulary from the week before, and then at the end of a lesson when I ask students to grade themselves. For one lesson, second grade was working on an insect printmaking project. This project required them to learn unfamiliar and technical printmaking vocabulary as well as a fairly new process. At the beginning of each class I reviewed all the technical terminology. Then the class talked me through the process of making a print, allowing me to test their knowledge. At the completion of a project I provide younger students with a simplified rubric7-8 and older students with short answers questions, encouraging them to reflect and evaluate themselves and their work6. I was surprised by the honesty of their answers. Although this form of assessment is mainly for the students, it also provides me with student input which influences how I might proceed to teach the lesson in the future. 8
Communication Each student is as unique as their fingerprints, and it is a teacher’s job to be able to communicate lessons, information, and directions in a way that each student can best understand and process that information. “You are a terrific communicator. You think things through, examining the information that you want to share with your students from all angles, striving to see things from your students’ perspectives. You present instructions appropriate for successfully carrying out art activities and these instructions are always accompanied by rich teacher—made examples, wonderful visual exemplars and detailed step-by-step instructions. You introduce vocabulary appropriate to the development of your students and you review these terms until they become part of your student’s every-day vocabulary... You clearly communicated educational objectives and behavioral expectations to students and used effective questioning techniques to encourage student discussion and reflection.” -University Supervisor Brenda Springfield 9
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Daily Agenda At the commencement of every class I write the daily agenda on the board, communicating to students the objectives and goals for the day.1 I record the goals on the board as I complete the corresponding step in the demonstration. Having the steps written on the board provides students the support they need to work independently. Therefore it cuts down on the amount of questions allowing more studio work time, allowing more time for me to give students feedback. Also a daily agenda introduces classroom visitors to what is going on in the classroom. Visual communication and Learning styles One of the most powerful ways to communicate in the art room is visually. Although descriptive words from lectures are important they can only teach a portion of visual literacy without the image. Therefore before the start of each lesson I organize bulletin boards full of images, vocabulary and facts as a student resource. For example for First Grade’s Insect Print project I created an interactive bulletin board to quiz students on their vocabulary.2 Students are often intrigued by other classes’ bulletin boards and inquire about the subject matter, increasing their desire to learn about art. Please refer to Diversity on p. 16 Subheading Learning Styles for information about teaching strategies I use to facilitate students’ digestion of information.
Higher Order Discussion Questions Higher order questions are an effective tool to promote student discussion and reflection. Upon the completion of first grade’s Imprint Fossil Recreation project I asked students- Was what we made was art or science? We charted reasons for both on the board and discussed that to different people like and artist or a Paleontologist the answer might be different.3 This type of discussions helps students understand that there is not always one right answer to a question or one right way to solve a problem. Please see p. 47 for examples of student work.
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Hello from Ms. Clifton’s Art Room As many of your children may have come home and told you, there has been an intern in the art room. I am an art education major at UF with a focus in ceramics and a minor in art history. It has been exciting to teach your children about subjects I am passionate about. Not only have I helped them to grow as young artists, but they have helped me to grow as a new teacher. Working with each of your children for the past couple months has been a joy! Sincerely, Miss Doll
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Communications with the school community The success of an art program is tied to its communication with the entire school community of parents, teachers, staff, volunteers, and visitors. Providing teachers with behavior and work habit feedback when they pick up their students is a great way to open up the line of communication within the school. The school also sends out a monthly newsletter, communicating upcoming activities to parents.5 Displaying art around the school gives students pride that their work is on display and shows what they have been learning.4 Glen Springs also hosts a spring festival that is a wonderful place to meet and talk to parents. Helping colleagues who are in need of a creative hand also strengthens appreciation of the arts in the school and builds relationships. For example, getting students involved in the paper-mâché portion of a set building project helped build a community atmosphere within the school. 10
Continuous Improvement Forever advancing and changing, the world of art requires an art educator to continually further their education, deepening their knowledge level. Art spans all of history therefore it is impossible to know everything, but it is possible to perpetually uncover more information. Never become so much of an expert that you stop gaining expertise. View life as a continuous learning experience.” Denis Waitley “The true delight is in the finding out rather than in the knowing.” Isaac Asimov
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Professional Development During the past year I participated in monthly Elementary Art Learning Community meetings in which teachers take turns presenting one of their lessons, share what is going on in the community, discuss upcoming student art shows, and any confer about ongoing transitions. It is a time for the Elementary Art Educator to come together to share their knowledge, ask questions, and gain expertise. During my internship the UF Art Education Program brought in a visiting art educator, Olivia Gude, to host a workshop on surrealism and teaching for artistic behavior.1 This workshop not only provided information on how to create several different kinds of surrealist lessons, but also taught us the importance of recreating the artists’ work environment to provide students a different type of experience. Therefore, students are not just being told information but experiencing it for themselves. I tried to recreate the atmosphere of Degas’s work environment through reconstructing stage lighting and playing classical music to set the mood. To give students inspiration from dance, I dressed in a practice tutu and old point shoes. The students were surprisingly engaged and would have danced around the room and through the halls had I let them.
Professional Resources Teachers are continually searching for accurate background information for lessons to provide students with the best knowledge possible. Throughout my teaching experiences I have utilized many different professional resources to plan my lessons and to provide visual examples to students. College text books, PBS videos, the school library, and museum websites are just a few of the resources I have used. (Refer to p. 32 and 40 subheading Materials for examples in lesson plans) For example, while planning information to share with students for my third grade Ancient Greek Frieze lesson I looked up facts from my college textbook and showed images from the British Museum’s website. One page on the website displayed damaged metopes along with sketches of the original undamaged metope underneath. You could slide along the metope and below the image and see the descriptions of the myth depicted. Also the British Museum had several helpful video clips, showing how the Parthenon used to be painted. The children found this fascinating.2 Library books about Ancient Greece were accessible to students as well.
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3 “Throughout this semester you have generously collaborated with you fellow students teachers, cooperating teacher, and with me (your University Supervisor). Your input into our seminar and blog discussions has been greatly appreciated as we’ve worked to plan and improve educational experiences for children.” University Supervisor Brenda Springfield
Cooperating Teaching and Colleague Feedback Whenever teaching a new lesson my cooperating teacher would observe me and provide written feedback.3 All of her notes guided my growth as a new teacher. The following is a quote from my journal showing an example of how I acted on her advice and that of my colleague kindergarten teacher, Ms. Hart “Some of the suggestions Ms. Clifton gave me were: to have students shake to get their wiggles out or take deep breaths, for me to be more explicit, and to give more non verbal behavioral gestures. Beyond just those suggestions I sought out Ms. Hart to ask her what techniques she uses to encourage good behavior. One of her main suggestions was just to be more firm with the kids, as she tends to be firmer. After explaining a few new techniques and putting them into play last week went much better, but there is still room for improvement.” 12
Critical Thinking Open ended fat questions such as why Q’s, How Q’s and Higher Order thinking questions during art production and discussion encourage critical thinking in the art room. A relentless barrage of "why’s" is the best way to prepare your mind to pierce the clouded veil of thinking caused by the status quo. Use it often. ~Shigeo Shingo Applied Theory Blooms taxonomy of knowledge involves the development of intellectual skills, going through six sequential stages that increase in difficulty. Lessons need to be presented in a way that builds on these stages in order to best facilitate student learning. For example most of these stages were visible as my third grade students progressed through the Ancient Greek frieze project. After introducing the lesson by reading myths, showing a PowerPoint and utilizing and interactive word wall1, 2 students reached the knowledge stage now able to recall taught information. 1 Throughout day two we analyzed two myths about Hermes and Artemis as a class, deconstructing the myth into the parts of a narrative.2 Next after a short demonstration students synthesized three sentences telling their own myth by using the characters we studied. Subsequent to composing and illustrating their plan, they created three contour line metopes and continually evaluated their artistic decisions based on their narrative sentences.3 Please see p. 47 for examples of student work. 3 13
“Creative thinking is not a talent, it is a skill that can be learnt. It empowers people by adding strength to their natural abilities which improves teamwork, productivity and where appropriate profits.” Edward de Bono.
4 In the words of my student Madeline, “ I remember you making me more creative by each minute”
Multiple perspectives Critical and creative thinking is best facilitated through the use of both fat and skinny questions. For example, first grade learned creative thinking skills throughout each day of their dinosaur lesson as they made connections based on provided contextual information. One day students thought about questions like: What do we know about dinosaurs for sure; and What don’t we know about dinosaurs? We discussed how scientific illustrators use: what they know from science, clues found from paleontologists, information about animals today, and their best guess to recreate dinosaur features. On day two, using library books, we discussed features animals, relatives of dinosaurs, and put ourselves in the place of a paleontologist. Then we brainstormed features and purposes of features before the students drew their own dinosaur. On day three we looked at a small diorama and images from books analyzing color, pattern, and textures of skin. After students answered questions like- Where does my dinosaur live? Why might a dinosaur want to camouflage? Why might it want to stand out? We then brainstormed skin textures and began adding color. When painting and drawing plants for the habitat we employed the same method: brainstorming different habitats, plants in those habitats and what colors we might use.4 By the end of the project students could describe a way that paleontologists and scientific illustrators could work together to bring a dinosaur back to life. Please see p. 46 for examples of student artwork. Higher Order Discussion Questions Open ended questions provide students an opportunity to think deeply, make connections, understand different perspectives and learn abstract concepts. For example, upon the completion of fifth grade’s ceramic bowl project I lead a discussion with students. (see p. 39 for Coil bowl lesson plan) I asked students- How is functional ware used in our daily lives? and What was art?- the bowls they or their dishes at home? Even though their dishes at home are mass produced did someone still have to design them? What about the images on those dishes- where did they come from? 14
Diversity The United States is often said to be one great big melting pot and the art room is no different as it is alive with students from diverse cultures and socioeconomic backgrounds. We study work from various cultures and time periods and bring all these things into play as students learn and express themselves through their art making. Teaching Strategies During my experiences I have had the opportunity to attend meetings regarding behavior and student placement, providing me with information to form new teaching strategies. At one such meeting with the behavior resource teacher, she evaluated the student’s behavioral choices so that she could from a plan for that student. After the meeting my supervising teacher and I discussed that moving the student to a different place might cut down on distractions. At another particularly insightful IEP meeting we discussed a placement for recently for a recently adopted deaf student with new cochlear implants. I learned more about what she was capable of from her parents, giving me the knowledge to better serve her as a student.1 Information I gleaned from the meeting allowed me to reinforce her home speech habits in the classroom.
Anna, Thank you so much for attending the IEP meeting for Amei with me. Your questions were very insightful, and your concern and compassion for her was evident. You handled yourself in a very professional manner. Katie- Supervising Teacher
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Classroom Adaptations In order to best facilitate special needs students learning and art making, extra thought and planning must go into classroom arrangement and tools. For example, at Glen Springs Elementary two bright students, Ellis and Katie, roll through the school in their wheel chairs. Every time Ellis visits the art room the students at her table replace her stool with a wooden chair and place a pillow atop it so she is the right height for the table.2 Once stools are out of the way Katie rolls in to place at her table. Katie has limited mobility of her hands and sometimes needs an adaptive tool. To aide her mobility, we gave Katie a pencil to which she adapted the eraser to help arrange the pieces.3 The love, support, and aid the students offer these two girls is touching and amazing to witness.
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Learning Styles Howard Gardner’s theory of multiple intelligences stresses that students learn best in different ways whether, visually, kinesthetically, or auditorally. Therefore when I am teaching I attempt to include all three to best communicate the information (SUDS). When I taught a ceramic lesson to fifth graders I instructed them on the stages of clay and firing. Students had a timeline chart to visually look at and examples of the stages to touch. I briefly verbally explained the steps and students took turns reading the definitions of the vocabulary.4 Students successfully learned the vocabulary and were able to utilize it while building their ceramic piece. During the introduction to the Kindergarten’s Vincent van Gogh lesson, I utilized a PowerPoint full of visual definitions and a jingle with hand motions to solidify their understanding of the vocabulary. By the end of the lesson students knew the jingle so well they were able to perform it in front of their parents at the Glen Springs Art Walk. Please see image 5 and 6 for examples of student artwork. Various Topics and Art Mediums When planning lessons I think about incorporating different art mediums so students will have the opportunity to work with many materials throughout the year. At one point in my student teaching experience I had a different art medium going for each grade level: collage materials for Project Friends, Tempera paint for Kindergarten, Oil pastels and tempera cakes for first grade, print making materials for second grade, pencils for third grade, mask materials for fourth, and clay for fifth. With all these materials comes a variety of lesson topics. When selecting topics and artists for lessons I take into consideration the ethnicity of my students so I can tailor my lessons to captivate student interests. Third grade for instance studied Ancient Cave paintings, Ancient Australian Aboriginal paintings, Ancient Egypt and Ancient Greece. In one lesson I taught, fourth grade learned about masks from all over the world and the purpose and function of those masks in their culture.9 We studied how masks have evolved in to the contemporary masks we are familiar with today. After discussing students familial ethnicity, students then had the opportunity to choose their own purpose for a mask and design features influenced by their chosen purpose. In the end their masks reflected the personality of their creator. Please see image 7(work in progress) and 8 or p. 48 for examples of student work. 16
Ethics Professionalism, patience, punctuality, respect, creativity, a love of children, a willingness to continue learning, and a passion for teaching art are a few important attributes of an art teacher. These are attributes of an art teacher that promote professional conduct and influence the atmosphere of the classroom.
1 “You model professionalism in every way. You are enthusiastic, caring, respectful, neat in appearance and dependable. It is obvious in every interaction with your students that you respect and care for them as individuals… You are incredibly engaged and enthusiastic when interacting with them and they seem to thrive in your presence.” University Supervisor Brenda Springfield 17
Ethics of Respect and Care Two of the main governing principles in my classroom are respect and care. I remain ever conscious of treating students with respect and they encourage my students to do the same for their neighbors. One of the ways I show my students respect is by calling them ladies and gentlemen. Understanding the students as individuals encourages respect in the classroom and although it takes time and effort, it is well worth the investment. Providing students with individualized and specific feedback on their artwork contributes to the positive atmosphere.1 A few word from my students “ I remember the time when you gave me some hints to make my painting of the palm trees better” Kiran “Thank you for helping us and making us be a better person” Taylor “ I remember when you taught us those eyes and mouth and nose stuff and when you told me to don’t give up and you can keep on and do it.” Rebecca “Thank you for teaching my class and making a difference in my heart” Trinity
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5 “I know that you have attended IEP meeting for student and are careful to maintain the confidentiality of the information shared in those meetings.� -University Supervisor Brenda Springfield
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School Rules and Classroom rules One of the schools I have worked at uses the word PAWS as an anagram for the rules of the school to cultivate a positive learning atmosphere. P-Positive attitude; A-Always be responsible; W-Work together; S-Show respect. Paws notes can be given out for exceptional behavior, used to earn admission to a fun event. I then translated those rules into three important rules to follow in the art room. Respect your Studio, Respect your Fellow Artist, and Be your Best Artist. These rules are hung sweeping across the wall in color and serve as a visual reminder to students.2 When these rules of ethics are followed in my classroom- a safe, caring and respectful environment is created. Safety Without an atmosphere of physical and emotional safety teaching and learning will not occur. Physical safety is sustained by making sure the classroom poses no danger to students. This is achieved through modeling safety to the students like sitting properly and using art materials properly with explicit directions.3-4 Also students use only non toxic materials and I handle all hazardous materials and equipment like the cutting board and the kiln.5 Lastly physical safety is kept through being familiar with and following school safety procedures for drills. When we had our monthly fire drill in February, I modeled safe and calm behavior and encouraged the children to do the same. They quickly and quietly left the building and patiently waited outside as I called roll and until we were called to return inside.6 Verbal abuse is not tolerated in the classroom whether the negative words are against themselves or others. If students are disrespectful of their art work I remind them that every great artist always wants to be better and then I ask the student to specifically tell me one thing they don’t like about their work and one thing they do. This allows me to give them constructive feedback so they can improve their work, growing their appreciation of their work. Normally I easily handle situations within the classroom but there are times when I utilize support staff like the behavior resource teacher. During one instance I sent a particular fourth grade student who was repeatedly being disrespectful to others and myself to the behavior resource teacher next door. When receiving information from students or from meetings with colleagues I maintain confidentiality to ensure student safety.7 18
Human Development and Learning Each individual student has their own rate and speed at which he or she digests and retains information as well as his or her own unique knowledge base and experiences to bring to their art making. Teaching Model When planning and teaching, I utilize the Gradual Release Model because it follows the normal flow of the art room. Following the format “I do, we do, you do,” I walk students through the process of art making, slowly transferring from teaching to studio time. For example on the final day of the kindergarten Vincent van Gogh lesson, I demonstrated different brushstrokes to make flowers. We observed the flowers in steps: first looking at the sizes of the flowers- Are some big and some small?; then looking at the number of petals each type of flower has- Do they have a lot of petals or a few?; followed by looking at the color of the center of the petals- What do you see?; and finally examining the color of the petals. Then the students were released to finish the project by painting the flowers on their pieces.1 Please see p. 31 for Van Gogh lesson Plan and p. 45 for examples of student artwork.
“When I recently observed you teach I was amazed at the information that your students retained. You do a marvelous job of coaching and re-coaching material in a way that is fun and palatable for your students.” University Supervisor Brenda Springfield
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Scaffolding Building on student’s prior knowledge is essential for artistic growth in the classroom. Information is scaffold from lesson to lesson and year to year within the classroom. Before introducing the dinosaur lesson with 1st grade (See p. 14 Subheading Multiple Perspectives for more information) we completed an imprint fossil project. After a short introduction using fossil video clips, students pressed leaves, shells, bones, and feathers into a clay slab, creating their own imprint fossil.2 Students learned many important vocabulary words that were necessary to know in order to be successful in the next project.3
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Theories When entering into a school for the first time it can be difficult to know where students are developmentally at in their art making. As I became more familiar with each student’s artistic abilities, I used the Lowenfeld’s stages of artistic development to tailor and adapt lesson plans appropriate for students’ artistic goals. Please refer both lesson plans under the subheading Characteristics of the Learners pgs. 31, 39 for practical examples. Play is considered an important part of social development by both Piaget and Vygotsky. Hence, when there is extra time at the end of the class students can go to centers and play with educational toys that promote creativity, including magnetic blocks, pattern making books and connectable building items.4-5 These educational toys provide them with an opportunity for varied interactions that cultivates problem solving skills needed for future art lessons. For another example of varied interactions please see p. 24 subheading Creating a Community. Interdisciplinary Implementing interdisciplinary lessons into the curriculum provides a meaningful way for students to use knowledge learned in one area as a base for other areas inside and outside the classroom. For example, In an ancient Greek lesson for third grade students I combined art and writing by using narrative sentences as a base for metope illustrations. After listening to myths, student broke down parts of the narrative and then created their own narratives.6 Second grade students completed an insect print making lesson, merging science and art. Students studied the parts of an insect, created a printing plate clearly depicting the head, thorax and abdomen, and then created ink prints of their drawing.7 For examples of student artwork please see pgs. 45-47.
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Modifications Working with varying exceptionalities, whether mainstreamed or in self contained classrooms, taught me how to modify lessons to fit various developmental levels and learning styles. For example, I modified my fossil and dinosaur lessons for students in Ms. Gaver’s ESE class. I limited the amount of direct instruction, allowing for more hands-on experience to better aid their development. When working with a mainstreamed student in Mr. Dumphy’s fifth grade class my supervising coordinator stated “I’ve observed you to patiently implement adaptations for students who have learning differences and special needs.” 20
Knowledge of Subject Matter “The mediocre teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher inspires.” William Arthur Ward “You have demonstrated a command of a wide range of skills and understandings in art as you’ve worked with your students. You present accurate background information about art content to be taught, often using technological and audiovisual equipment with comfort and familiarity.” University Supervisor Brenda Springfield In the words of my students “You are the best teacher in the whole world” Jha’lon “You are brilliant! I love you. You are good at art” Katrina “ You are awesome and a good drawer”- Lindsay
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Art Expertise Throughout my studies I have gained a great depth of knowledge about art and it is rewarding to share my passion for art with students. Although I took classes in a variety of artistic mediums, my focus was in ceramics. I have won many awards and participated in many art shows for my ceramics. (Please see resume p. 4 subheading Honors, Awards and Recognitions for evidence.) My young students have become masters of pinch pot making and were so involved in the process that you could have heard a pin drop. On introduction day for the clay bowl project I inspired students by showing them some of my own work. While showing them a bowl I made in college, I explained how long I have been making ceramic pieces to show students that skill increases with practice. When creating teacher examples of projects, I designed them at a level slightly above that of the students’ ability to inspire them to reach beyond their capabilities.1 Please see pgs. 49-50 for examples of my work. Art History and Educational Training Trained also in Art History, I took classes specializing in late 20th century art, Ancient Greek Art, and Central African Art. These classes provided me with knowledge that I bring into lessons. (Please see pg 31and 39 subheading Historical/ Cultural Context for documentation that demonstrates knowledge and understanding of subject matter.) While in the art education program at UF I learned many different techniques and skills to provide rich learning experiences for the students. All of my field experiences at elementary schools and art programs allowed me to practice the new knowledge I had received.2 Before I attended college I had many teaching experiences under my belt, giving me basic teaching skills. For many years I have been cultivating those skills through teaching dance classes, Sunday school, and ceramic classes at different community centers.
Demonstrations Demonstrating proper procedures accurately gives students the knowledge base to accomplish tasks set before them. When demonstrating I verbalize my thoughts to students, using the think out loud strategy. This helps them to understand the artistic process and the reasons I am making certain decisions. As I complete each major step in the process I write the step on the board, serving as a reminder to students. For example in a printmaking demonstration, I talked students through the process of securing down the printing plate, using the brayer to roll out the ink on the bench hook and printing plate, rubbing the barren evenly on the back, separating the paper from the printing plate, all the while stressing the importance of keeping a clean work area.3 When reviewing a demonstration with students I have students talk me through the process to assess how much they remember. Sometimes the best way for a student to learn something is for them to complete the procedure and then teach it to another student. After I taught one student the proper technique to clean their plate that student in turn supervised the next student to finish, instructing them on the proper cleaning technique.4 The student became the teacher.
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Content from daily living Incorporating objects from student’s daily life into lessons encourages students to find artistic inspiration from the world around them. When planning kindergarten’s Vincent van Gogh flowers in a vase project I researched his life and his style to provide accurate information and vocabulary to students. In addition I provided students with many examples of his paintings of flowers in a vase to show students there are lots of types of vases and you can make art about all of them.5 Other lessons also incorporated objects from daily life such as: insect prints-as bugs are always bugs around in Florida, and the coil bowl project- as bowls are an everyday object to hold food. Not only did the coil bowl project give them a greater appreciation of their dishes at home but also lead to an interesting discussion about what art is. 22
Learning Environment Formed by the physical landscape of the room and the emotional atmosphere, a positive classroom atmosphere can greatly facilitate learning, enhancing student focus and student workmanship.
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Classroom Arrangement Normally a place of organized chaos, the art room is full of activity, productivity and bustling with life. Carefully organizing the art room into main areas of learning reduces distractions and increases efficiency. The work and teaching relatively function within the same space therefore the room arrangement must allow clear views of the visual resources and allow for materials to be easily found and gathered.1-2 Clean up is always a part of the art making process and that requires an area to accommodate many messy hands.3 A carpet provides a place where students can read books when they complete the day’s goals. It can also be a place to gather students for reading an art related book as part of direct instruction.4 With so many projects and students, being and staying organized is imperative to maximize efficiency and work time in the classroom. Motivational Techniques To cultivate student interest on a subject I use a variety of techniques from short video clips and questions to props and costume. For example, during Project Friend’s Edgar Degas lesson I set up an octopus lamp with theater gels to recreate the artist’s work environment and captivate student intrigue. When we started talking about ballet costumes I put on a practice tutu and my old point shoes and stood by the light to show students what Degas might have really seen.5 Even the boys in the classroom were fascinated and attempting to dance around the room along with the girls. Please see p. 48 for examples of student work.
“It is immediately obvious when observing you teach that you have worked hard to successfully employ appropriate classroom management strategies in order to create and maintain a safe and effective learning environment. You set very high expectations for student learning and behavior, always alert to what is happening throughout the classroom. With good humor and poise you coach students to make appropriate choices. If discipline infractions arise, you consistently handle them with respect and fairness, maintaining dignity for all.” University Supervisor Brenda Springfield
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Verbal and Non Verbal Signals Keeping students continually engaged is the best form of classroom management. This can be achieved through high expectations, clear instructions, non verbal signals, and activities students can do upon assignment completions. Explicitly wording instructions and directions positively affect the atmosphere of the classroom, greatly influencing student actions. If a student is off task then I have to simply ask them what they should be doing to correct the situation. Most small infractions can simply be solved through non verbal signals such as hand signals, eye contact, and standing in close proximity to a student. If there are still problems three verbal warnings increasing in sternness are given. At this point if there is no behavior change young students will be sent to time out and older students to the Behavior Resource Teacher. After sitting for a few minutes in time out, I will carry on a conversation with the child discussing his or her behavior and the consequence of that behavior with the student. At the end of the discussion I ask if they think that they can do better next time, give them a hug to restore a caring environment and ask them if they are ready to rejoin the class. Frequently I allow the child to make restitution for his or her action. For example, one student was tearing collage paper into tons of little pieces, making a mess. To make restitution for his action I asked him to help pick up other students’ pieces of dropped paper after class. Creating a Community Creating an environment in which students actively collaborate and assist each other, where they feel free to experiment and try new things, takes care, getting to know students on an individual level and participation in collaborative projects. When established, this environment creates a community, a home-away-from-home, as students spend so much of their time at school. One particular project, Silly Faces, slowly encouraged collaboration and lead to a good discussion about art ownership. Students drew one shape in their sketchbook then passed it to their neighbor, drew a shape in their neighbor’s sketchbook, and kept passing and adding shapes and lines until it became a silly face.6 At first students were hesitant to release control and pass their work to another student but as the activity progressed they become very engaged in the process. Frequently at the end of the project some students are angered by their classmate’s choice of shape or name, where as other students found the whole thing amusing. This emotion provides a great jumping off point for discussing personal preference and art ownership. Students were able to learn some serious lessons from a fun game-like activity. Reaching out to the school though teacher duty, lending a creative hand, and participating in events also cultivates a sense of community. In the words of my students, “Thank you for making us feel like home”- Muriel “Thank you for encouraging us with kindness”- Rhiannon “You always cheer me on and I will never forget that”- Breyona 24
Planning With the plethora of art materials in use, different projects in process and six different developmental levels to account for, planning is an essential part of an art teacher’s day. Extensive planning always helps the day flow smoothly but things will not always go perfectly as planned.
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Multi- Level Lessons Glen Springs Elementary was designed with a unique program in place for young students called Project Friends (PF). Kindergarten through second grade are all together in one class which facilitates independence and student collaboration. Designing lessons for this group poses a unique challenge and one of the projects they completed during my time there was Eric Carle seascapes. Although cutting and gluing was challenging for the kindergarteners, it was an important skill for them to learn and older students would readily help out when needed. This project could easily be a challenge for older students as well if encouraged to add more difficult shapes to characters and more intricate details such as stripes on a fish.1-2 The flexibility of skill level this project allowed for made it perfectly suited for PF classes. As well as multi-age classes I have also taken part in a program called AMPS, or art music PE scholastics, where title one ( a federal program through which most school districts receive funding to provide supplemental instruction for those students who qualify) students who are normally pulled during specials time are required to come to one of the specials on Wednesdays for a five week rotation. The lesson on this day has to be one that is particularly fun, short and easily adapted for all students. Students of all grades completed a water color wash project, inspired by the book, The Perfect Square. They painted wash techniques on squares, took the squares apart and created new work out of them. With simple changes in vocabulary I could easily adapt the project for any age. School Resources Libraries are an essential elementary classroom tool. Before any project begins I head to the library and check out relevant material, often used as a tool when introducing part of the lesson. The books are great for showing vivid images in place of slide images. Also having books checked out from the library and on hand in the room has been wonderful for when students finish the day’s project early and are in need of entertainment. Not only does this promote their interest in the topic we are studying but it also allows for and encourages reading in the classroom.3 Please refer to pgs, 12 and 30 for other examples of resources.
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Handling Materials Being organized is key to optimizing studio time in the classroom. Therefore at the end of each day I set out student folders and begin gathering all necessary materials, reducing transition time. This preparation time allows me to assess student work progress, plan what needs to be taught in the next class, and prepare things like organizing dry papers into folders and taking note of who was absent and needs to be caught up. For young students like kindergarten and PF classes I frequently write their names on the back of their paper to cut down on materials and pass out their materials to save time. While teaching I let students know I am looking for attentive students to help me pass out materials later, devising an honorable task. All of the materials are color coded based on the color of the artist’s table, reducing arguments.4 When large amounts of materials are in use, like for collage, I prepare places on the central table for students to gather materials. After tables are organized and explicit instructions given, each young student puts their hands on a different material (to promote turn taking) and brings it to the central table when and where specified. After students are trained, clean-up is speedy. Once rags are distributed to clean messy fingers and young students pass a hand check, they are free read if time allows. Sunshine State Standards Sunshine state standards are a guiding factor when planning my lessons. For implementation of standards please see full lessons in the appendix pgs. 35 and 43.
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Lesson Planning To ensure that lessons scaffold but are not redundant I pause every week or so and review my monthly calendars looking at topics, start and end dates. This action ensures a well balanced curriculum with projects proceeding logically. Before each lesson begins I type up a shortened lesson plan focusing on the daily break down, standards, vocabulary, Essential Qs and Higher Order Qs, and main introduction plans. On a more daily basis I write out a teaching version of each day of the lesson plan. I include bullets of reminders of things to say, things I want to mention to students, things I want to teach differently and so on. The night before a new day for a lesson I write out my teacher version and at the beginning of each school day I go through my binder, select all the appropriate pages for the day and put them on a clip board.5 Then at any point in the day I can skim through the classes and review what and how I want to teach the lessons. While I am teaching I can quickly glance at my clipboard to make sure I hit all the important parts. Although I know my delivery each lesson will never be exactly the same, it is helpful to have my clipboard of teaching lessons out to make sure I don’t forget to say something integral. Oncourse ( http://www.oncoursesystems.com )systems is an online lesson planning program where I where input all lessons necessary for the entire week, and upload them for the principal to view.6 26
Role of the Teacher “The role of the teacher remains the highest calling of a free people. To the teacher, America entrusts her most precious resource, her children; and asks that they be prepared... to face the rigors of individual participation in a democratic society.”- Unknown
1 Anna, Thank you so much for helping with the last ArtWalk. You helped to make it a tremendous event! All your behind the scenes work helped everything to run smoothly. I know the parents were pleased too meet you after hearing lots of wonderful things from their students! I hope you felt a great sense of pride in the artwork you helped to inspire! The Van Gogh paintings were a hit and the framed fossils looked so professional!” Ms. Clifton Supervising Teacher
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Teachable moments I have experienced many instances when teachable moments appear, permitting me to facilitate learning to the entire class or an individual. Occasionally I would notice everyone in the class making the same error; subsequently, I would refocus the class’s attention to the front and provide more information to correct the problem. Another time, although I instructed all classes with young students to write their names on the back of their papers. One class failed to do so or wrote their name on the front, which became covered with chalk pastel. Resorting their work into folders became an unachievable task, providing me with a teachable moment. When the students returned, those whose papers had names were able to get started right away, while the rest of us had a discussion about name writing. Sometimes when a student doesn’t understand all the instructions and has a question while working I ask them questions to facilitate learning.1 One student was having trouble choosing analogous colors and asked for help. Therefore I referred him to the color wheel, asked him what analogous meant and asked him to tell me which colors were analogous. He was then able to successfully complete the project. Art Shows One of the most successful ways to show the significance of art and communicate with parents is through art shows. Seeing their work on display encourages students, giving them pride for their artistic talent and effort. This event also provides me a wonderful opportunity to talk with parents and offer a piece of unique praise about their child.2 After everyone had a chance to see the artwork a ceremony commenced where each student was individually honored and received a certificate of achievement.3 Students treasure art show experiences, showing off their hard work and giving them a chance to build their self-confidence.
School Duties and Activities Teacher duties are some of the many roles I have filled, like supervising late pick up and visiting different classes to sing to individuals on their birthday. Frequently the same students were picked up late every day, allowing me to forge deeper bonds with the students. Two brothers Max and Mason particularly loved to play math games while Justice and Jada just enjoyed talking about their day. Singing happy birthday to students is probably the best teacher duty there is and I loved being able to go into the classroom, make the birthday boy or girl feel special and put smiles on all their faces.4 For more school activities please see p. 10 subheading Communications with the school community. Community Involvement Examples Being a part of the UF art education program has facilitated my participation in community art events such as the Imagination Station at the Gainesville downtown art festival and Saturday Art Camp. The Imagination Station fosters student creativity, providing children lots of free activities to take part in such as crazy pipe cleaner hats, finger painting, bead making.5 Glen Springs also hosted a community carnival, featuring many stations. While in charge of the canvas bag decorating table I had the opportunity to converse with parents, students and other children in the community.
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5 “Marie I like the second quote you pulled out. I feel too often people over-look the fact that children can think critically and have deep meaningful thoughts. I personally am a verbal processor [consequently] dialogue and discussion is something I need when it comes to art.�
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Colleague Collaboration Throughout my internship and years in the Art Education program I have had many opportunities to collaborate with colleagues and peers through classes, blogs, staff meetings and workshops. Discussion blogs about educational reading materials have provided me opportunities to voice thoughts and receive input.6 (To the side the quote is a written response to a peer’s blog entry) 28
Technology Technology is a wonderful teaching tool that stimulates student interest, provides an ease of visual accessibility, and facilitates a greater depth of learning.
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Using Technology in the Classroom During my various teaching experiences I frequently made use of a variety of technological tools, pairing technology with other methods for best results. Normally for lesson introductions I create a PowerPoint of images providing visuals to aid student digestion of the information presented. The Smart Board in the classroom became a particularly helpful tool as it allowed me to draw on top of images and create interactive visual activities that young students responded well to. For example, when introducing the concept of symmetry of vases to kindergarten I was able to enlarge images of Van Gogh’s flowers in a vase paintings and take the smart marker to draw the line of symmetry on the vase.1 Then I would proceed to outline the sides of the vase. Although the smart page helped the young ones to understand the concept, I also paired that with physical examples of a student volunteer and a vase marked with the line of symmetry. Later in the lesson I developed an interactive smart board activity for the students to teach them observation. On one side of the smart page was a row of paintings by Van Gogh and on the other was a row of details from each of his paintings. The students had to look at color, and line to help them match the detail with the whole painting. They were fully engaged the entire time and by the end of the activity they were master observers. (please see pg. for pdf of visual). Another tool, the Doc Cam, allowed me to show demonstrations on a larger scale. I would utilize the Doc Cam when demonstrating colored pencil, oil pastel, ceramic, glazing, and other techniques that would be hard for the entire class to see on the board.2 This ensured that the entire class could see what I was doing. Many ESE students also respond better to videos, therefore the doc cam allowed them to take in more information than they would have otherwise.
Online resources Having a computer in the classroom provides me access to the World Wide Web where I can locate a variety of visual resources and literature about artists, processes, techniques, and cultures. Research is always a part of planning a lesson and the internet makes that process easier. The Internet was the source of several educational video clips I found to use as an attention grabbing introduction to information I was presenting.3 On the British Museum’s Website ( http://www.britishmuseum.org )I found a myriad of video clips, visual tools, and literature that I was able to incorporate into the Ancient Greece Frieze project. Please refer to pgs, 31-44 for examples of how other resources were utilized in lesson plans.
3 Anna, “Thank you so much for attending the new grade book workshop with me. Not only do I hope this information will be useful to you in designing your future grading and assessment procedures, but it was helpful to have another mind brainstorming from the art perspective. Our system differs so greatly from that of a classroom teacher. I appreciated your point of view!” Katie Clifton Supervising Teacher
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Training As technology continues to advance there are always new educational tools available that enhance the learning process. The continual advancement will often place me in the role of learner, a necessary place to keep up with technologically savvy students. For example, before my internship I had had little to no experience using a smart board or a doc cam, but after experimenting with the program for a few minutes the technology became addictive to work with. Also while at Glen Springs, the school was in transition to a new online grading system. Thus shortly after my arrival I attended a training meeting for Infinite campus. Although the new program provided particular difficulties of understanding for specials teachers we were able to team up and collaborate to figure it out.4-6 For now most teachers are keeping a hard and digital copy of grades but it won’t be long before everyone is digital only. 30
Lessons NAME: Anna Doll TITLE: Vincent Van Gogh Sunflower Lesson GRADE LEVEL OF STUDENTS: Kindergarten CHARACTERISTICS OF THE LEARNERS: Students in kindergarten are learning how to handle tools and art materials properly. Students are in the Preoperational stage of Piaget’s theory of cognitive development. Students are greatly developing language however, concrete examples are still more useful than verbal explanations at this stage. So, visual and hands on experiences are particularly helpful to promote learning for kindergarteners. They are starting to work out solutions to problems but become easily frustrated when problems arise. RATIONALE: Essential questions: What is a Painting Style? How do we create a painting style? What choices must an artist make before beginning a work? Students will create a mixed media artwork based on Vincent Van Gogh’s Sunflowers and other floral vase paintings. They will learn about symmetry, observation, and how different brushstrokes create a style. Students should learn about Vincent Van Gogh because he is an inspiration for many acclaimed artists, as he is one of masters of painting in art history. Vincent Van Gogh also had a unique painting style, and talking about how each artist has a specific style connecting to the bigger questions of How do artist create their own style, expressing themselves through their art. Students should learn the skill of observation that Van Gogh utilized because it teaches children to look closely, and notice details. The ability to notice details is important for other subjects as well. This lesson could fit into many larger units of study such as: one about drawing and painting from observation, a unit about nature, still life’s or even a unit about impressionism and post impressionism as Vincent van Gogh was a post impressionist. This lesson integrates with mathematics because it teaches students about vertical symmetry (although for the purposes of kindergarten only the idea of symmetry and line of symmetry will be discussed). Painting from observation and creating a still life whether from objects, fruit or flowers has served as a starting point for many artists, teaching them skills necessary for creating their later works. The idea of drawing and painting from observation is a foundational skill, one that student need to learn before they can break the rules in their later works. This lesson encourages students to look closely and observe while adding their own style through patterns on the vase and brushstrokes in the flowers. HISTORICAL/CULTURAL CONTEXT: Vincent van Gogh lived only thirty seven years but painted nearly 800 different paintings. Although people didn’t like his work too much while he was living he is now one of the most famous painters in all history. In a letter to his brother Theo, Van Gogh wrote, “I am functioning like a painting engine”, meaning he just kept making painting after painting. Although he was sick at the end of his life he continued to paint, creating paintings that are loved now. Today many of his works sell for well over hundreds of millions of dollars. His famous vase with 15 sunflowers sold for $80 million dollars. The huge change in how people liked his art work helps us to understand that not everyone likes something at first; that something that may be made fun of now could become a treasure later. This helps students to have a greater respect for their neighbor’s work. Vincent Van Gogh used thick paint making bumpy and rough brush strokes that rolled and made his paintings look like they were moving. Background Information: Observation means looking closely at something and taking in all the details. A Brush stroke is the way paint can be put on the paper, which can be done through dabbing, rolling, and sweeping the brush across the page; the thickness of the paint can change the way a picture feels if we touch it, making it rough or smooth. A painting style is the way paint is put on the paper or canvas. Patterns are repeated or reoccurring designs. Many types of lines and shapes can be used to create the patterns such: as vertical, horizontal and wiggly lines and, squares, diamonds rectangles and stars. Symmetry is when something is the same on one side as it is on the other, and the line that shows that the sides are the same is called the line of symmetry. Background is considered to be the area behind the main object.
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OBJECTIVES: Students will be able to (1) describe personal choices made in the creation of artwork, (2) handle art tools and media safely in the art room, (3) explore art processes and media to produce artworks, (4) produce artwork influenced by personal decisions, (5) understand vocabulary, and (5) explore everyday objects that have been designed and created by artists, MATERIALS: Equipment needed- smart board, laptop, doc cam Artworks: All can be found on ARTStor, teachers can choose, favorites By Vincent Van Gogh Some are: Vase of Roses, 1890; Self Portait1887; Sunflowers 1887; Roses and Anemones, June 1890; Drawbridge at Arles, 1888; The Starry Night, June 1889; Sunflowers 1888; Flowers in Blue Vase, 1887; Vase with Iris; Postman Roulin, 1889 Resources: Gardener’s Art through the ages Volume I and II and, The metroplitan musum of Art website http://www.metmuseum.org/toah/hd/gogh/hd_gogh. htm, and http://library.artstor.org Materials: Paper, heavier weight paper, oil pastels, scissors, glue, pencils, tempera paint in a variety of colors, paint brushes, mini paint rollers, containers for water, rags for clean-up, flat container for paint rollers, small containers for the paint to go in, vases, yarn to show symmetry, fake sunflowers and other flowers. References: Book-Camille and the Sun flowers by Laurence Anholt PREPARATIONS: The art teacher will need to create: a PowerPoint, a smart board matching game with details of paintings and full sized paintings, a smart board page of images that has vases of flowers that van be enlarged and vase traced. If you do not have the above technology then creating a bulletin board of the images listed is another option. Materials to be prepped: cut and pre-fold 7” by 8” sheets of heavier weight paper, cut 9x12 Sheets of paper. For day four and five: paint in containers, water in containers and vases with flowers will need to be prepped. DAY ONE: • Introduction: To start the lesson, have students gather on the carpet as the teacher reads Camille and the Sunflowers by Laurence Anholt. Next have students return to their tables and while starting up the smart board ask review questions such as: What was the name of the artist in the story? Have students repeat his name aloud a few times. Next using ARTStor zoom in on a Painting of Camille to the point that student can see the brushstrokes. Explain to them what a detail is. Ask the student closest to the light switch to turn down the lights Then open up a document in smart notebook that has the full image of the paintings and the details for student to match together. While opening the program tell students to look closely at the colors and lines to help them match the detail to the paintings. Call students up one by one till they match the detail to the painting. Next the teacher should circle where on the image the detail came from. For the last one or two paintings have students make an educated guess as to where the detail is located on the full sized painting. Now move on to the PowerPoint. Teach each part of the following jingle to the students that correspond with the slides: Look closely and observe, take some paint and make a brushstroke and we create a style. Ask questions such as What is the difference between the black and white image of Van Gogh and the color one? What do you see? How is this tree different that one you would see outside? • Procedures: Day one of the project is mostly direct instruction; if there is extra time students can practice drawing vases in their sketch books, therefore teacher should have the sketchbooks or scrap paper ready for students to practice on. • Distribution and Clean up: If there is time teachers can pass out sketch books for students to practice drawing vases and while students are opening their sketchbooks the teacher can pass out pencils. At end of class students can organize pencils in cups and place sketchbooks in container. Teacher can collect materials • Closure: Teacher should review jingle with student each class each day they come so that by the end they can say the jingle by themselves. Review what each vocabulary term means: observation, brush stroke and style. Ask questions like why do you think Vincent Van Gogh painted sunflowers?
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DAY TWO: • Introduction: When the class arrives they should head directly to their seats. Next while the smart board is warming up the teacher should review the jingle that students learned the week before and any other key points. Then using a smart note book page already created teachers should enlarge one of van Gogh’s floral still life’s and outline the vase shape. Ask questions like- does this vase look the same on both sides? Then the teacher should continue to do the same with a couple other paintings. Next the teacher should introduce the idea of symmetry. Teacher should use a vase and a student as a concrete example. • Procedures: Before the class arrives the teacher should open any documents to be used for the day on the computer, set out the pre folded heavier weight paper, and enough vases for the tables in the class. When the class arrives they should head directly to their seats. Introduction to what the students will be doing for the day should take about 10 minutes. After instruction the teacher should pass out the vases, paper and color coded pencils containers to specified table. While spending less than five minutes passing out materials the teacher should remind students of the proper use of materials. Students should then spend about the next 20 minutes working. • Distribution and Clean up: Before the class arrives the teacher should open the vase smart note book page on laptop, set out the pre folded thicker weight paper, and enough vases for the tables in the class. After introduction teachers should pass out paper and pencils to students. Five minutes before the class ends students should clean up their area by throwing any paper scraps in the recycling bin, putting pencils and scissors back in their designated container, and by putting their work in a pile. While materials are being collected the teacher should be looking for tables who are seated properly and quietly and ready to go. Teacher then can call students by table to line up. • Closure: Teacher should review jingle with student each class each day they come so that by the end they can say the jingle by themselves. Review what each vocabulary term means: symmetry, pattern, etc. DAY THREE • Introduction When students come in to the class room they should come directly to their seats. After a two minute review of what student learned last week teachers should give a five minute demonstration on how to paint the back ground. Using a lighter shade of paint for the wall cover the entire paper. Then choose either a darker hue and use a mini roller to roll paint across bottom of paper for table. After students are cleaned up from painting the background the teacher will then spend 3-5 minutes reviewing how to create patterns. Ask: what are some different patterns we can create? What lines and shapes can we use to create a pattern? • Procedures: Teacher should have the folder of students work out, as well as containers of paint for the background, large paintbrushes, water containers, paper, mini paint roller, tray and oil pastels. Within 10 minutes students should have completed painting the background and raise their hand to move on to painting the table area of the background After the pattern review students will spend the remainder of the class putting pattern on their vases. While collecting the materials the teacher should be looking for tables who are seated properly and quietly and ready to go. Teachers then can call students by table to line up. Depending on where student are with their oil pastel patterned vases they may need an extra day to complete them. If this is the case teachers will need to spend 3-5 minutes reviewing pattern and then students will spend the remainder of the class time creating pattern • Distribution and Clean up: After the demonstration the teacher will pass out materials while reviewing the directions for the day with the students. As students are beginning to finish students should distribute wet rags and students should take
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painting materials to the sink. Teacher should then pass out paper vases, and oil pastels. Five minutes before the class ends students should clean up their area by putting oil pastels back in their designated container, and by putting their work in a pile. • Closure: The teacher should review jingle with student each class each day they come so that by the end they can say the jingle by themselves. Review what each vocabulary term means: pattern, background, and discuss color choice to differentiate wall and table. DAY FOUR • Introduction: Teachers will spend about 10 minutes reviewing vocabulary from the previous week and demonstrating how to glue the vase to the background and how to observe where the stems are on the still life and paint them from observation. Ask where are the stems coming from? Are they floating? Where would they be coming out of on our paper? As this should not take long teachers should also demonstrate painting techniques for students to quickly practice with when they finish their stems. Teacher can dab the brush for the center and sweep out from the center to make petals. • Procedures: Students will listen to instruction and then spend a minute or two gluing down the vase. They will then spend about 10 minutes or less observing vases and painting the stems and leaves. Once finished they will receive a practice sheet of paper and containers of paint to practice brush strokes for center and petals of flowers • Distribution and Clean up: Before students arrive teacher should have the folder of the students work out, as well as to containers of paint for the stems and leaves, paint brushes, glue, water containers, vases holding artificial flowers and paper. After the demonstration the teacher will pass out materials while reviewing the directions for the day with the students. As students finish teachers should collect glue and pass out paint and blank paper for brushstroke practice. When there is five minutes left in class the teacher should have students start cleaning up. Students can bring their wet paintings to the drying rack where the teacher is waiting to help them, and they can put their paint containers, water containers and paint brushes in their designated spot in the sink. Students should pass out wash rags to wipe messy fingers and table areas. As students complete clean up the teacher should be looking for tables who are seated properly and quietly and ready to go to call by table to line up. • Closure: The teacher should review jingle with student each class each day so, that by the end of the project they can say the jingle by themselves. Review what each vocabulary term means: background, stem, center, petal, brushstroke and style DAY FIVE • Introduction: The teachers should spend 7-10 minutes showing examples of Van Gogh’s flower paintings and demonstrating painting three different flowers from observation. To encourage students to observe break the observation down into steps: 1 look at the sizes of the flowers- Are some big and some small?; 2 look at the number of petals the flowers have- Do they have a lot of petals or a few?; 3 look at the color of the center of the petals- What do you see?; 4 look at the color of the petals of the flowers. Other questions to ask: What words would you use to tell me about these flowers, Look closely what do you see? • Procedures: Students should have about 25 minutes of solid work time to complete their flower paintings. While students are working, the teacher should be asking the observation questions to the class to encourage students to look closely. As students complete clean up the teacher should be looking for tables who are seated properly and quietly and ready to go to call by table to line up. • Distribution and Clean up: Before class teachers should return dry paintings to the class folder and prep paint, and set out paint brushes and water filled cups. As the teacher is passing out materials she should be reviewing the steps to painting the flowers with the students. When there are five minutes of class time left, students should be notified to begin the clean up process. Students can bring their wet paintings to the drying rack where the teacher should be waiting to help them, and they can put their paint containers, water containers and paint brushes in their designated spot in the sink. The teachers should pass out wash rags to wipe messy fingers and table areas down. • Closure: The teacher should review jingle with students. Review what each vocabulary term: brush stroke, style. Ask: How did we create a style Why did we paint flowers and create a vase?
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ASSESSMENT/SUNSHINE STATE STANDARDS: The following rubric based on sunshine state standards will be used to grade the work. Criteria
Excellent
Design:
The student understands what symmetry means. He/she creates a symmetrical vase that will eventually hold painted flowers. It is clear that the student understands pattern making and successfully creates patterned shapes on the vase. Student demonstrates knowledge of the proper way to use a paintbrush: wash, wipe, blot, next color. The student shows great respect for the materials and his fellow students. Student identifies brushstrokes in a work of art and is able to use paint and paintbrushes to create a painting based on a conscious choice of colors, lines, and shapes, patterns and expressive brushstrokes.
Composition: 1)VIS.K.VA.K.C.2.1 Describe personal choices made in the creation of artwork
Materials: » VA.K.S.3.3: Handle art tools and media safely in the art room. Painting Skills: » VA.K.S.1.1: Explore art processes and media to produce artworks. Creativity: » VA.K.S.1.2: Produce artwork influenced by personal decisions and ideas. Time and Effort: Vocabulary:
Follows Directions: VIS.K.VA.K.H.2.2 Explore everyday objects that have been designed and created by artists.
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Student uses the whole page interestingly, drawing/painting large enough so that he/she can introduce things that he/she thinks are important such as details, texture and patterned shapes.
Satisfactory
Student ties to use the page interestingly, mostly drawing/painting large enough so that he/she can introduce things that he/she thinks are important such as details, texture and patterned shapes. May be missing a couple details The student sort of understands what symmetry means. He/she tries to create a symmetrical vase to hold painted flowers. Student understands pattern making and creates some patterned shapes on the vase. Student mostly demonstrates knowledge of the proper way to use a paintbrush: wash, wipe, blot, next color. The student shows some respect for the materials and his fellow students Student attempts to identify brushstrokes in a work of art and is able to use paint and paintbrushes to create a painting based on a somewhat conscious choice of colors, lines, and shapes, patterns and expressive brushstrokes.
Needs Improvement
Student makes no attempt to use the whole page interestingly. Drawing/Painting is too small to things that he/she thinks are important such as details, texture and patterned shapes. Or detail missing totally The student does not understands what symmetry means. He/she creates an asymmetrical vase that will eventually hold painted flowers. It is unclear if the student understands pattern making and fails to create patterned shapes on the vase. Student demonstrates no knowledge of the proper way to use a paintbrush: wash, wipe, blot, next color. The student shows no respect for the materials or his fellow students. Student does not identify brushstrokes in a work of art and is not able to use paint and paintbrushes to create a painting based on a conscious choice of colors, lines, and shapes, patterns and expressive brushstrokes.
The student has created a painting that is totally his/her own. The student’s personality/voice comes through.
The student has created a painting that is totally his/her own. The student’s personality/voice slightly comes through.
The student has created a painting that is not his/her own. The student’s personality/voice does not come through.
The student used class time wisely. Much time and effort went into completing all steps of this project. Student has learned a jingle incorporating some of the important vocabulary words in this lesson. Vocabulary words: detail, pattern, symmetry brushstroke, painting style, observation, Vincent Van Gogh
The student used some of class time wisely. Some time and effort went into completing most all steps of this project. Student has mostly learned a jingle incorporating some of the important vocabulary words in this lesson. Vocabulary words: detail, pattern, symmetry brushstroke, painting style, observation, Vincent Van Gogh Has included perceptible patterns of shapes on the vase and the student attempted to observe the vase and flowers closely.
The student did not use class time wisely. Little time and effort went into completing some steps of this project. Student has not learned a jingle incorporating some of the important vocabulary words in this lesson. Vocabulary words: detail, pattern, symmetry brushstroke, painting style, observation, Vincent Van Gogh
Has included clear patterns of shapes on the vase and it is obvious that the student has observed the vase and flowers closely.
Has confusing shapes on the vase, not creating a pattern and it is obvious that the student has not observed the vase and flowers closely.
EXTENSIONS: There are several different projects student could complete to expand on this lesson. Teachers could continue on into a lesson about Georgia O’Keefe, comparing and contrasting her abstract flower paintings and Vincent van Gogh’s flowers in vase paintings. Students could also move on to a lesson about landscape garden paintings, allowing teachers to compare and contrast what we do with flowers inside, where they come from, and where they grow. Another option after completing the above lesson is that teachers could then pull in science and teaches students more about the parts of the flower, having them paint a different flower from observation. There are many possibilities to challenge students and tweak their interest further on the subject. VISUALS: Attached PowerPoint, Smart board activities SAMPLE:
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Vincent Van Gogh Matching Activity
Vincent Van Gogh Vases for Teaching Symmetry
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Vincent Van Gogh PowerPoint
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NAME: Anna Doll TITLE OF ART LESSON: Building Coil Bowls GRADE LEVEL OF STUDENTS: 5th Grade CHARACTERISTICS OF THE LEARNERS: Fifth grade students are in the pre-adolescent stages of physical development and are forming strong friendship with their same gender. Seating students who are best friends together could be distracting from their art making. Female students may be more mature than their male counterparts at this age. According to Lowenfeld students are in the dawning realism of artistic development. They notice the difference between what they can see and what they can draw or create, causing students to become self critical. This clay project will provide them with a break from dawning realism, raising their self esteem. At this age many students have developed good problem solving skills that will be necessary for them when problems arise while building the coil bowl. Previously students have created pinch pots and small animal or human sculptures out of clay. Students have some experience with clay but none with formal techniques for building functional ware. RATIONALE: Essential Questions: Is a coil bowl art? How do I use art in my everyday life? Why do people make pottery? Students should create clay bowls because it is an exciting hands on project which has a high success rate, building student confidence at a stage in their lives when they are highly self-critical. This project also encourages students to put their problem solving skills to use when they come across challenges while building and developing their coil rolling skills. Learning about ceramic artists and experiencing building functional ware for themselves will give students some insight into why many artists have chosen to become ceramicists. This project teaches students terminology and skills that are foundational to all ceramic processes and are necessary to learn before they can expand their abilities and artistic flavor in future projects. HISTORICAL/CULTURAL CONTEXT: Building a coil bowl has served as a starting point for many artists, teaching them skills necessary to build and create later works. The coil bowl project teaches foundational skills, ones that student need to learn before they can expand on and break the rules in their future creations. Please refer to Introduction section for information about clay and technical terminology. Acoma Indians are a people group in New Mexico who make pottery- beautiful vessels of everyday life, and ritual, using the coil bowl method. Unlike the Acoma we buy our clay from a store all ready to go. The Acomas walk far distances on foot to dig their rocky clay out of the ground which then must be ground before it can be used. Then they are ready to build their bowls. Phyllis Kaye and Biliana Popova are also two contemporary artists in LA who use the coil method to make bowls, vases and much more. OBJECTIVES: Students will be able to: (1) use accurate art vocabulary; (2) use media, tools, techniques, and processes responsibly; (3) identify sequential procedures for building a coil bowl; (4) use materials, tools, techniques, processes to achieve expected coil bowl results and (5) think critically as they figure out how to keep an even wall thickness and height . MATERIALS: Equipment needed- doc cam could be helpful but not necessary to show demonstration, laptop, smart board, or a projector, Supplies: clay, canvas to cover a table, clay, wire cutter, skewer sticks or something to score the clay with, bowls, spray bottle, slip and container, plastic box and poster board for storage, paper towels, plastic trash bags, plastic wrap, sharpie, a piece of clay at the plastic, leather hard and bone dry stages, as well as an example of bisque ware and glaze ware Resources: Acoma Indians http://www.migrations.com/traditionalacoma.html and Phyllis Kaye Biliana Popova http://www.kp-studio.com/k-portfolio.htm PREPARATIONS: Teachers will need to create a clay bowl cut in half, and a pdf or smart notebook page showing stages of clay and firing. Gather examples of various clay stages and bisque and glaze ware. Materials to be prepped: two sizes of foam bowls slightly bigger and smaller marked A and B(smaller one )
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Day one: a table or flat area should be covered with canvas, (A) bowls set out with large square of plastic wrap set inside covering interior of bowl, 2”x1”x1” chunk of clay set inside bowl (size of chunk depends on bowl base), slip prepared, skewer sticks set out, one coil rolled for each student. Day two: precut chunks for coils Day three: pre-cut chunks for coils, bowl (B) marked INTRODUCTION: As students head into the classroom direct them to walk in and be seated at their tables. To start this lesson the teacher should open up the attached PDF and go through it with the students, explaining the different stages. Clay goes through differing stages and firing processes as we create artwork out of it. The clay that you will work with today is in the plastic stage. The clay is full of water and easily bendable. (Bend a piece of plastic clay to show student its properties.) As it starts to dry out and the water evaporates it enters the leather hard stage, leaving the clay only slightly bendable. If a sheet or slab of leather hard clay was bent in half it would crack and break. (Bend a piece of leather hard clay to show student its properties.) Bone dry clay has no more water in it, is dusty, hard and fragile or easily broken. Most elementary students will not handle the clay at this stage. (pass around or walk around and let students touch a pieces of bone dry clay). All unfired clay is called green ware, and can change stages. Next your work is put into the kiln. A kiln is like a oven. How hot does your oven get at home? How hot do you think a kiln gets? Its maximum temperature gets to about 2,500 degrees. (Demonstrate with hands how big your kiln is or have students take a walk outside the room to show them one). A bisque firing makes the clay stronger (knock on a piece of bisque fired clay) but it is still fragile like dishes at home. When clay comes out of the kiln it is called bisque ware. Our pots are now ready to be glazed. Glaze is different than paint though; it is made out of chemicals and colors cannot be mixed together like paint. After glazing a pot it is put back in the kiln and fired to a higher temperature, a glaze firing. Glaze does three things 1- makes the pots stronger, 2- waterproof, and 3-adds color. When glaze reaches those high temperatures it becomes like glass, creating a glossy coat on the outside of the pot. (show example). Now the ceramic piece is complete, and it is called glaze ware. The kiln must cool before it is opened. When it is opened it like Christmas morning, looking at all the beautiful colors of the pots. The ceramic piece is complete, and it is called glaze ware. That is the process of how clay changes. After introducing the stages have students read the definitions from the PDF to review all the terms. Vocabulary: plastic- clay is wet and easily shaped with hands leather hard- clay is still wet but cannot be bent much without breaking bone dry- clay that no longer has water in it, this is the most fragile stage green ware- all unfired clay, including plastic, leather hard and bone dry bisque ware- clay that has been fired once to a temperature lower than in a glaze firing glaze ware- bisque ware that has been covered in glaze and fired to a higher temperature, this firing creates a glossy coat on the outside of your artwork kiln- oven like structure used to fire clay. It gets about 5 times hotter than your oven at home glaze- makes the clay stronger, water proof and adds color ceramicist- an artist who makes art out of clay functional ware- clay objects used to hold food and drink or serve another practical job slip- liquid clay like mud scoring- making lines or marks in the clay where there will be a connection How to make a patty cake slab base- squish clay into a ball, roll it in hands using soft indent of palm, then patty cake it into a slab by slapping it from hand to hand, rotating slightly each time How to roll a coil- squish clay into 1-2” thick rope, roll rope on table from wrist to tips of fingers using even pressure and keeping hands parallel to ground. Attaching the first coil- ? Attaching a second coil- set coil against wall and push down the inside edge to connect it to the previous coil Preventative measures: Show a wiggly coil and how to rotate coil placement based on coil thickness. Thickest part of the coil should go where the lowest part of the coil bowl’s wall.
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Questions to ask: Day one: Describe the plastic stage? Why do you think it is called bone dry? How hot does your oven get at home? How hot do you think a kiln gets? What are the technical terms for scratching and attaching? Day two: What is a slab? What does a coil look like? What type of bowl are we making? Day three: What characteristics make a good coil? What can you do to keep your clay wall height even? Discussion Questions: How and why have/do people create pottery with their hands? Ask students to consider what is art?( The bowls they made and the ceramics I showed or their dishes at home?) Day One: • Introduction: Students will come in and sit directly in seats. Half to two thirds of the class time will be direct instruction and demonstration. Talk about stages and firing using PDF (10min), and discuss how artists’ always want to be better and we must start with the basics before moving on (2 min). • Procedures: Demonstration: Patty cake for base- squish into a ball, roll it in hands then patty cake it into a slab Preventative measure: Show how to make bigger if it is too small for base and how to fold edges over to shrink base it too big. Scratch and attach, show how to score and slip base using slip and stick tool Demo how to attach second coil, by pushing down inside edge (Total 5-7min) Students will start building their bowls and hopefully finish base and attach first coil. • Distribution and Clean up: Teachers will pass out a bowl (A) to each child that has plastic wrap inside and a chuck of clay for the base.(1 min) When students are finished they raise their hand a receive a coil, slip and a stick from the teacher to move on. While students are working write their names on the bottom of bowl (A) with a permanent marker. Have the first few students who are finished pass out wet rags, and collect slip containers or sticks. Once everyone is finished about five minutes before class ends have them fold their remaining plastic wrap over their base and attached coil and stack their bowls to be collected by the teacher • Closure: Review vocabulary students learned while students are lined up or waiting cleaned up at seats. Day Two: • Review: Students will come in and sit directly in seats. Teachers should start by reviewing some vocabulary students learned the week before: coil, slab, score and slip, coil bowl (3 min) • Procedures: Demonstration: Demo how to roll coil, rolling from wrist to tips of fingers, using even pressure, keeping hands parallel to ground. Demo how to attach second coil, by setting coil against bowl wall and pushing down the inside edge Preventative measures: Show a wiggly coil and how to rotate coil placement based on coil thickness. Thickest part of
the coil should go where the lowest part of the coil bowl’s wall. Total 5-7min)
Students will be building their bowls by rolling and attaching coils. (remaining class time) • Distribution and Clean up: Teachers will pass out A bowls that has a new chunk ready inside each bowl (2-3 min).
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When students are finished with a coil they raise their hand to receive a new chunk from the teacher to move on. Five minutes before class is over teachers pass out wet rags. Once everyone is finished or about five minutes before class ends have them fold their remaining plastic wrap over and push bowl to the front of the table to be collected by the teacher. (5-7min) • Closure: Review vocabulary, preventative measures and processes while students are lined up or waiting cleaned up at seats. Day Three: • Review Students will come in and sit directly in seats. Teachers should start by reviewing how to make a coil and what makes a good coil and, previous vocabulary(3 min) • Procedures: Demonstrate: Demo: how to trim uneven edge Demo: how to set plastic wrap and bowl (B) in completed bowl, flip it over and remove bowl (A) leaving bowl (B) base up with the clay bowl on the outside. Demo: how to smooth outside with fingers and or plastic square. (total 5-7 min) Students will finish building their bowls and smooth outside using bowl (B) If there is time at the end of class the following discussion could ensue: Ask students to consider what is art? (the bowls they made and the ceramics I showed or their dishes at home?) Even though their dishes at home were mass produced did someone still have to design them? What about the images on those dishes- where did they come from? • Distribution and Clean up: Teachers will pass out (A) bowls that has a new chunk ready inside each bowl (2-3 min). When students are finished adding a coil they raise their hand to receive more chunks or bowl (B) from the teacher to move on. Once bowl is smoothed students may get a stick from the center table to write their name on the bottom of their clay bowl. Five minutes before class is over have the first few students finished pass out wet rags and collect bowls (A) and (B). If students are finished and there is more time left students may walk to the reading area to pick out a book to read. Have students wipe their area and push bowl to the front of the table to be collected by the teacher(5-7min) • Closure: Review vocabulary, preventative measures and processes while students are lined up or waiting cleaned up at seats. EXTENSIONS: There are several different projects students could complete to expand on this lesson. Students could build a coil bowl without the foam bowl for support, or a coil vase in the same method. Students could also learn another method, slab building, to make a different kind of functional pottery. If students had access to wheels students could learn yet another method to make functional ware. Viewing a demonstration by teacher or visiting ceramic artist would be an enriching experience that could extend the lesson. After this project one could extend to a glazing project where students compared and contrasted Asian and European style glazing. There are many possibilities to challenge students and peak their interest further on the subject.
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ASSESSMENT/SUNSHINE STATE STANDARDS: The following rubric on the next page will be used to grade the work. VA.5.S.1.4, VA.5.S.3.3, and VA.5.S.2.2 will be asses during class time through auditory review and while working one-on-o++ne with students.
Criteria
Craftsmanship VA.5.S.1.4: Use accurate art vocabulary to communicate about works of art and artistic and creative processes. VA.5.S.3.3: Use tools, media, techniques, and processes in a safe and responsible manner. VA.5.S.2.2: Identify sequential procedures to engage in art production. VA.5.S.3.1: Use materials, tools, techniques, and processes to achieve expected results in twoand/or three-dimensional artworks. Vocabulary (informal assessment) Time and Effort:
SAMPLE:
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Excellent
Satisfactory
Needs Improvement
Student can name all sequential procedures to build a coil bowl
Student somewhat used clay, slip, and skewer stick responsibly and in a safe manner. Received 1 warning about mess or improper material use Student can name many sequential procedures to build a coil bowl
Student did not use clay, slip, and skewer stick responsibly and in a safe manner. Tools taken away and or made messes on purpose Student cannot name sequential procedures to build a coil bowl
Student used proper materials, tools, techniques, and processes to achieve expected coil bowl results
Student used proper materials, tools, techniques, and processes to achieve close to expected coil bowl results
Student used few or no proper materials, tools, techniques, and processes and did not achieve expected coil bowl results
Student raises hand and verbalizes answers to questions about vocabulary The student used class time wisely. Much time and effort went into completing all steps of this project.
Student sometimes raises hand and tries to verbalize answers to questions about vocabulary The student used class time somewhat wisely. Some time and effort went into completing all steps of this project.
Student occasionally raises hand and makes no attempt to verbalize answers to questions about vocabulary The student did not use class time wisely. Little to no time and effort went into completing all steps of this project.
The student bowl is smooth with an even rim, no cracking or joints visible Student has learned important vocabulary words in this lesson. Vocabulary words: coil, slab, score and slip, coil bowl, green ware, plastic, leather hard, and bone dry Student used clay, slip, and skewer stick responsibly and in a safe manner. Accidental messes only
The student attempted to smooth the bowl, mostly even rim, no cracking visible but some joints visible Student has learned some of the following important vocabulary words in this lesson. Vocabulary words: coil, slab, score and slip, coil bowl, green ware, plastic, leather hard, and bone dry
Student did not attempt to smooth out the bowl, uneven rim, cracks and joints visible Student has learned few to no important vocabulary words in this lesson. Vocabulary words: coil, slab, score and slip, coil bowl, green ware, plastic, leather hard, and bone dry
Attachment
Stages of Clay and Firing glazeware
bisque ware
bone dry
leather hard
plastic
green ware plastic- clay is wet and easily shaped with hands leather hard- clay is still wet but cannot be bent much without breaking bone dry- clay that no longer has water in it, this is the most fragile stage greenware- all unfired clay bisque ware- clay that has been fired once to a temperature lower than in a glaze firing to make the clay stronger glaze ware- bisque ware that has been covered in glaze and fired to a higher temperature. This firing creates a glossy coat on the outside of your artwork kiln- this is what clay is fired in. It gets about 5 times hotter than your oven at home glaze- makes the clay stronger, water proof and adds color 44
Student Gallery
Penny Kindergarten Van Gogh Flowers in a Vase Tempera Paint, Oil Pastel
Isaiah Kindergarten Juan Quezada Inspired Patterned Pinch Pots Clay, Glaze
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Isaiah Kindergarten Van Gogh Flowers in a Vase Tempera Paint, Oil Pastel
Sharon Project Friends Degas Ispired Dancers Pencil, Chalk Pastel Students could choose any ballet pose
Jatavius Kindergarten Juan Quezada Inspired Patterned Pinch Pots Clay, Glaze
The Big Sea Kaylee Project Friends Eric Carl Collages Tempura, Tissue Paper, Oil Pastel
Davis Project Friends Degas Ispired Dancers Pencil, Chalk Pastel Students could choose any ballet pose
Adriel First Grade Dinosaur Illustration Desert Oil Pastel, Tempura
Kyson First Grade Imprint Fossil Clay, Glaze
Cayden First Grade Dinosaur Illustration Forrest Oil Pastel, Tempura
Isreal First Grade Imprint Fossil Clay, Glaze
Alex Second Grade Insect Print/ Printing Plate Ink/ Oil Pastel
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Chloe Second Grade Insect Print Ink/ Oil Pastel
Isaac Third Grade Myth Plan Pencil, Colored Pencil
Nick Third Grade Myth Plan Pencil, Colored Pencil
Isaac Third Grade Myth Metope Pencil, Marker In Process
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Ian Third Grade Egyptain Sarcophagi Colored Pencil, Sharpie, Stamps
Jessie Third Grade Egyptain Sarcophagi Colored Pencil, Sharpie, Stamps
Dustin Fourth Grade Mask Foam Tray, Paper, Taper, Tissue Paper Shows student choice and different viewpoints
Rive Fifth Grade Coil Bowl Clay
Lily Fourth Grade Mask Foam Tray, Paper, Taper, Tissue Paper Shows student choice and difference of viewpoints
Kierra Fifth Grade Coil Bowl Clay
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Personal Gallery
Corruption Fall 2010, Ceramic Sculpture 1 Stoneware, Glaze 24”x24”x32” Resplendent coral is being corrupted by pestilent algae overgrowth.
Worry Box Fall 2010, Ceramic Sculpture 1 Stoneware, Glaze 24”x16”x28” This project is a reliquary inspired by the song Your Love is strong by Jon Foreman. With lowfire glazes and luster.
Strawberry Extravaganza Spring 2011, Vessels Asthetics 1 White Stoneware, Glaze 18”x 12” Chocolate Covered Strawberry Trays and Bowl inspired by the flower, Mini Fuschia
The Dance of the Masquerade Spring 2010 Ceramic Sculpture II Porcelain, glaze Half of a chess set featuring venetian masks as the peices, made from press molds. As players move chess peices across the board chess becomes like a dance. The move49 ment between the peices becomes a masquerade. The detail shows the intracate raised texture of the pawn.
Chiaroscuro Chair Study Spring 2009, Perceptual Drawing Pencil On paper 22”x 30” Study of fabric curves and how light hits those folds
Moonlight in the Park Fall 2008, Warp Color Digital Photo on paper 11” x 17” This was part of the set of photos I took for my final warp project, and was one of five included in the final showing. This is an abstract photo about the movement of dance and its connection to nature. This is a time lapse photo
Back Stage Ongoings Fall 2010, Series Painting Oil paint on canvas 12”x 60” Part of a series of paintings based on my memories of dances perfomances. It depicts a scene of the back stage corridor that connects all dressing rooms during the intermission of the nutcracker performance.
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Letters of Recommendation
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