SW P R IINN GT 2015 ER
2017
A MAGAZINE FOR COLORADO’S ART EDUCATORS
Clay
EVERYTHING
Potter’s Wheels
YOU NEED TO TEACH
CERAMICS
Lead Free Glazes
Lesson Plans
Kilns
Slab Rollers & Equipment
amaco.com 2.
Tech Support
Table of Contents
In Every Issue 5. President’s Message by Vanessa Hayes-Quintana 7. Letter from the Editor by Alexandra Overby 90. CAEA Executive Board and Division Representatives Council Directory 90. CAEA Task Force Chairs and Publications Directory 91. Regional Representatives
In This Issue 10. Notes on Educator Effectiveness – Instructional Shifts by Donna Goodwin
16. Interview with Joanna and Eric Johnson of Slate Falls Press by Autumn Hartshorn 18. ArtSource Through the Years: 20th-Year Celebration And My Journey from Wallflower to Leader by Pam Farris 20. 2017 CAEA Midwinter Conference 30. Room Sleuth by Bethany Narajka 34. 80 Years: CAEA’S Artistic Journey at a Glance by Vanessa Hayes-Quintana
“Improving the Appearance of Rooms and Corridors” by Denver Public School Contributors, State Art Association of Colorado Bulletin, April 1940, Vol. 1, No. 3.
35. A Sampling of Archive Notes and Correspondence
“Art Education: A List of Books for Teachers.” Art Booklist No. 34, Denver Public Library, Fine Arts Department,1937.
Ellinger Invitation and Kirkland Article in the 1947 Colorado State Art Association Bulletin
“Parents and Child Art” by Kathryn Kellet, State Art Association Colorado Bulletin, October 1940, Vol. 2, No. 1. 63. General Suggestions for Prospective Teachers 71. Questions in Art Education that Persist Today
78. 2016 CAEA Fall Conference Art Education and Science Development in the Elementary School, by Augusta Schreiber, Supervisor, 80. 3D Printing in the Art Room: A “Creative Limit” Littleton Public Schools Design Challenge Project by Kim Chlumsky “Bulletin Board Arrangement” by Gladys Wells, State Art Association of Colorado Bulletin, December 1939, Vol. 1, No. 1. COLLAGE is published by the Colorado Art Education Association Vanessa Hayes-Quintana – President Alexandra Overby – Editor Rosemary Reinhart & Elisabeth Reinhart – Copy Editors Janet McCauley – Layout Design & Production
87. 2017 Youth Art Month Award Winners
Cover Photo: Artwork Image from 3D Printing in the Art Room: A “Creative Limit” Design Challenge Project by Kim Chlumsky, pg. 80
Please submit all materials to: COLLAGE Editor: Alexandra Overby, alexaoverby@gmail.com COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - July 1. Email all submissions to alexaoverby@gmail.com. Contributions of articles, photos, and artwork are encouraged. Submissions of text should be emailed as Word documents. Accompanying photographs of student work or students at work is encouraged. Do not include images within a Word document. Images should be in .jpg format and sent as separate attachments. Refer to the attachment and the file name in the body of the e-mail. Whenever possible, include captions and, in the case of photos of original student or teacher artwork, include names of artists. Submitted items may be edited for clarity, length, and format. Opinions expressed in the articles are those of the authors and publication does not imply endorsement. Lesson plan submissions must include lesson objectives, appropriate assessments, procedures, standards applications, and materials.
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4th Annual Drawing Contest Ages 5-18 "If I Had A Wagon"
Grand Prize
- Weekend stay for the winning student, their family, their art teacher, and their art teacher's family in Rocky
Mountain National Park with lodging and meals provided by YMCA of the Rockies.
- Plus a Topo Designs backpack, Imagination International art kit, gift certificate to Blick Art Materials online store, and admission into the Windows to the West Art Show and Sale
For more information, visit coloradokidscreate.org 1st-4th Place Prizes
- Topo Designs backpacks, Imagination International
art kits, gift certificates to Blick Art Materials online store, and admission into the Windows to the West Art Show and Sale
Special Recognition Prize
- Campfire and hayride for 20 people at Sylvan Dale Guest Ranch in Loveland, Colorado.
Talia Hartman As well as Imagination International, The Print Source, Copy, Copy, Blick Art Materials, Sylvan Dale Guest Ranch, and The Wrangler Store
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President’s Message
President’s Message by Vanessa Hayes-Quintana
Happy 80th Birthday, CAEA! When I stepped into the CAEA presidency, along with all of the responsibilities of serving, I received a giant carload of boxes. I wondered what previous presidents might have thought when they packed their cars full of CAEA’s history and happenings. I was itching to dig into the fragile papers and discover Colorado’s art education story. I wondered who had taken time to neatly organize the folders according to decades, and label the contents of each year. Are you out there reading this? Interesting historical documents always evoke a sense of numinosity for me. I perused the material dating back to 1936, marveled over the bleeding type on parchment and the lovely meticulous script of handwritten notes. You know “script,” carefully crafted lettering executed on paper with a pen using your very own hand. Lovely script in faded pen on browning paper fills my soul with awe and, at the same time, a dreaded feeling of the impending demise of my soul. My grandmother made it very clear that my character would be judged through the perfection of my handwriting. My grandmother’s handwriting was perfect, of course, along with the appearance of her hands. She was also a hand model, which didn’t help the anxiety I experienced when scrawling the letter V with my mannish meat hooks. The advent of electronic correspondence is probably one of the only indications I was born at the “right” time.
I was struck at how the nature of reflection is embodied in the time taken to draft, address, and mail letters, then await correspondence of timely consideration. We would even consider using a typewriter today as reflective and methodical, if not sleepy and torturous. Writing and rewriting the draft of a letter required setting up the typewriter, checking the placement and securing the ribbon, loading and perfectly aligning the paper, testing the margins, and typing every letter perfectly, lest you were forced to use correction fluid. As I pored through letter after letter, ingesting the content and character of pamphlets, journals, and programs, I gained perspective. Perspective that, however our processes of documenting and corresponding have lost the aesthetic attention given in the past, our concerns as art educators in Colorado have remained essentially the same over the span of 80 years. We still struggle to connect with our rural friends. We still seek to advocate for our rightful academic place in schools. We still work to enrich the human experience by bringing art’s gestalt in all of its many forms to the world around us. In the spirit of honoring our past as Colorado art educators, I’ll leave you with two things to consider. First, what elements of our lives contain the aesthetic attention they, and you, deserve? Do
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I teach students to appreciate what it means to make something with our hands, a painting, a drawing, or a sculpture because the use of our hands inherently contains the signature of our making, the essence of our personal style. you still keep a handwritten address book, recipe cards, or sketchbooks? Do you engage in the scratch making of anything? Do you mix your own paint, measure your own glaze recipes, or sharpen your own printmaking tools? I know I love my coffee press! If you love the grass, would it indeed be beneficial to take the time to cut it with a manually rotating blade? My students struggle with what appears perfect on a printed page. I teach them that we aren’t looking to reproduce something that came from a machine
societal turbulence. Expectations to communicate instantly steals away valuable time required to process information and circumstances. Quickly act, act, act has replaced thoughtfully think, think, think. CAEA turns 80 years old this year. We’ve been around for quite some time. Let’s pay homage to the many years of dedicated teaching it’s taken to keep our craft alive. Let’s take some time to think. I’ve compiled material from the CAEA archives I thought you may find interesting. I urge you to
Our concerns as art educators in Colorado have remained essentially the same over the span of 80 years. or a printer. In your life, how can you impart the aesthetic value of the act of creation using equipment of the digital age? I teach students to appreciate what it means to make something with our hands, a painting, a drawing, or a sculpture because the use of our hands inherently contains the signature of our making, the essence of our personal style. Where do you, or can you, exercise aesthetic attention? How might it enhance the quality of your living? Secondly, I realize the extent to which instantaneous communication contributes to the vortex of
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find a golden nugget that provides you big-picture insight and perspective into our art-educator past, and that has meaning in your relationship to that big picture within the space of this moment in time. Happy Birthday, CAEA! And, I wish for everyone a very successful and exciting year of teaching, learning, and art making! Look for more historical materials throughout the year as we celebrate teaching art in Colorado.
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Letter From the Editor
Letter Fr om the Editor by Alexandra Overby What do the movie Moana, design thinking, and art teaching have in common? More than you think! Wayfinding If you have not seen Moana yet, I highly recommend it. The movie centers on the ancient Polynesian practice of wayfinding to explore and trade with islands within the Pacific. Polynesians used their knowledge of the stars, the sun, and ocean swells to navigate the sea, colonizing islands such as Fiji, Samoa, Hawaii, and Easter Island. Wayfinding is basically defined as spatial problem solving, knowing where you are, where your desired end location is, and how to get there from
Design thinking is similar to wayfinding in which you take one step at a time towards the direction you know you need to go and then make corrections along the way. In the classroom, we could use design thinking and the concept of wayfinding as a way to refine our classroom practice and curriculum.
your current location. In a contemporary use, wayfinding is a concept in architecture that focuses on how people can be directed through a space. If the directional system is confusing, visitors have to try to find other ways to get to their destination. A bad wayfinding system can cause the user to become frustrated and not return to the building. If one applies this concept to teaching art, the visitor becomes the student. If students are given a clear direction of where to go, they can reach their learning goals (the destination). If our curriculum or classroom environment is unclear or confusing, students get frustrated and may refuse to continue on their journey of learning and possibly come to dislike the visual arts.
Design Thinking Model - http://dschool.stanford.edu
Design Thinking Design thinking is something that you may be familiar with. Engineers and designers often use this way of thinking to solve the challenges that
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It’s not about finding the one best solution right away; it’s about testing different approaches, finding the one that works best with our students, and giving ourselves permission to continue to refine the approach. This is the core of design thinking. are put before them. The process is very similar to the design cycle – empathize, design, ideate, prototype, test – but the trick is figuring out what the problem is (empathize). What is the exact issue at hand? Once the designers pinpoint the problem, then they can create a few prototypes to try out. These prototypes are based on assumptions of what is needed and, by testing them, the designers find out what assumptions are wrong or do not work for a particular challenge. When one of the prototypes turns out to be the best answer, the designers can then refine that prototype and test it again and again until the solution is created. Design thinking is similar to wayfinding in which you take one step at a time towards the direction you know you need to go and then make corrections along the way. In the classroom, we could use design thinking and the concept of wayfinding as a way to refine our classroom practice and curriculum. We know what we want our students to learn and
be able to do, but we do not always know how to get there. It’s not about finding the one best solution right away; it’s about testing different approaches, finding the one that works best with our students, and giving ourselves permission to continue to refine the approach. This is the core of design thinking. Designers quickly create something practical, send the prototype out to the audience, and then learn how it performs. They then revise their prototype and send it out again. Now I know this kind of approach is not going to work when grades are due and lessons need to be wrapped up, but is there a space in the semester where you can try this? We often give our students challenges to solve and expect them to work in a similar manner. Think about letting your students be a part of the design thinking. How can they start acting like designers?
Design Thinking for Educators - http://www.designthinkingforeducators.com
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Design thinking and wayfinding are two systems that allow for imperfections. So give yourself permission to fail and fail again before you find the best solution. Teaching is not an exact science; it is inherently full of complications and grey areas. We need to allow ourselves the space to try new things and tinker with our practice. Do you see how these three things – Moana, design thinking, and teaching art – have something in common? That’s the strength of art teachers – we are always finding new connections in disparate concepts! By the time this issue reaches you, the spring semester will be in full swing and art show season will have begun. Spring is always a crazy time for
art teachers. If you are anything like me, you create lots of lists, constantly look at your planner, and hope that everything goes smoothly! I hope that all of you will consider writing for Collage in the future. We have so many talented teachers, artists, and professionals in our state. We would love to hear your voice! Please submit articles, event summaries, and photos to alexaoverby@gmail.com. Resources for Design Thinking Design Thinking for Educators Design Thinking in Education
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Notes on Educator Effectiveness – Instructional Shifts by Donna Goodwin
This past summer, Colorado educators in all content areas came together to finish Phase IV of CDE’s Colorado District Sample Curriculum Project in a special event called the All Standards: All Students Instructional Strategies Institute. Educators discussed key instructional shifts within their specific disciplines and engaged in reflective lesson planning based on examples found in the standards-based District Sample Curriculum units. Their focus was on providing tools and resources developed by teachers for teachers. These tools and resources highlight highimpact instructional strategies specific to each discipline and create sample lesson plans that exemplify this shift away from static practice.
This team of art teachers shared specific strategies that they use in their own art classrooms around four basic areas of Creating a “JustRight” Challenge, Creating Relevancy, Building Relationships, and Fostering Disciplinary Literacy. The visual arts team began our discussion around visual art educational strategies that meet the changing educational needs of our next generation of artists, designers, thinkers, and inventors. We found that a review of current literature suggests patterns around a focus on artistic process, student agency, intrinsic motivation, and creative and critical thinking. These pedagogical shifts allow students to “increasingly understand artmaking as an investigative process, recognizing and using inquiry methods of observation, research, and experimentation as a means for exploring their own evolving interests and concerns as well as for construction of new knowledge and insights” (Stewart, 2014, p. 10). The first pattern in these shifts involves teaching for understanding and transfer beyond what students should know and be able to do within a short timeframe, including:
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planning lessons around ideas that endure when details and minimal skills fade away;
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concepts and skills that are demonstrated rather than simply recalled; and
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giving students increasing responsibility for their own intrinsic motivation for problem finding and solving where the teacher is a guide and facilitator providing support as necessary.
Photo of the All Students: All Standards Instructional Strategies Institute Visual Arts Team From left to right: Barth Quenzer, Elizabeth Stanbro, Vanessa Hayes-Quintana, Ben Quinn, Beth Anne Cummings, Dale Zalmstra, Donna Goodwin, Lisa Kopplinger, Annalee Couch, Kelly Beach, Tori Eastburn, Tom Burkle, Christy Gigliotti, Liz Buhr, Patrick Fahey, Diane Wright, Capucine Chapman, Tom Fleecs, Not Pictured: Kate Giese
The second pattern involves an emphasis on experimentation, invention, and discovery by: •
teaching a variety of skills along with art terms and vocabulary as they are needed through the process of open-ended, student-centered, creative endeavors;
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allowing choices that are significant to students’ contemporary understanding; and
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providing opportunities to discover and learn through experimentation as a natural part of the creative process rather than following pre-determined steps.
The third pattern involves teachers carefully mediating students’ learning activity by: •
considering studio and thinking habits while students cycle through the creative process from nascent idea until final presentation of their work of art;
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encouraging discussion, questioning, and metacognition about their decisions through a range of meaning-making strategies;
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encouraging collaboration with others to be able to experience various perspectives and, ultimately, make their own interpretations; and
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reflecting and thinking deeply about his or her work and the work of others.
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Instructional Shifts in Visual Art
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Resources to Support Instruction
Moving from less of…
Moving to more of…
Memorization and recall of art terms as evidence of learning
Art terms and academic vocabulary learned through process while developing plans, working through iterations, and determining when a work of art is finished
Principles of Possibility Elements and Principles as a Tool Practical Application of Principles Depth of Knowledge in the Arts
Creating works of art designed to adhere to a particular aestheti
Works of art created in response to big ideas, conceptual understandings and areas of inquiry that cross content and are meaningful to the student artist
Conceptual Framework NCAS Concepts in the CAS Integrated learning CAS Integrated Units Samples
Providing sequential steps to design problems that students follow
Students finding problems, experimenting, and engaging in the artistic process with teacher guidance and support
Posing project assignments to students with known and predictable outcomes
Multiple investigations driven by student’s questions and interests with a range of possible outcomes where the application of the artistic process is the goal
Problem-based learning Intrinsic Motivation in Artmaking Process and Product Constructivism in Art
Learning objectives based on the activity
Learning objectives based on transferrable learning gained in the process of artistic creation
Studio Habits of Mind Arts and the Scientific Method Getty Museum Lesson Writing Guide
Lectures about master artists, styles, or interpretation of a work of art or content
Students exploring a work of art as a “text” through deep reading of an image or object and determining meaning through their own investigations and schema of understanding
Sketchbooks Planning Brainstorming Ideation
Artful thinking routines Visual thinking strategies Continua of artful thinking Cultures of thinking continuum
Working in the style of a master artist or culture
Exploring an artist’s inspiration and response to their time, culture, and context then transferring this artistic behavior as students develop their own artistic responses
Think-aloud Student Directed Meaning Traditional and Contemporary Culture A Study in Change
Teaching artistic skill and technique as an end result
Students applying artistic skills and techniques as best fits their intended meaning in a work of art with an ability to transfer this learning to multiple situations in the future
Teacher Modeling Student Modeling Reflection and Critique Transfer
The idea that creativity happens in isolation
Creativity inspired by collaborating with others and incorporating ideas and inspiration from multiple sources and points of view
Steal Like an Artist Discussion Strategies Assessing Creativity Conditions that Foster Creativity Connecting Creativity
Emphasizing individual self-expression as an end
Considering personal expression within a broader realm of human experience as agency to affect change
Art and Community Activism Art and Social Impact Sample Project Ideas
This team of art teachers shared specific strategies that they use in their own art classrooms around four basic areas of Creating a “Just-Right” Challenge, Creating Relevancy, Building Relationships, and Fostering Disciplinary Literacy. A small sampling of the strategies they shared are: •
Think aloud – Allow students to verbally process, usually in small or safe groups, before sharing out in a whole group.
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Collaboration – Allow students to process and work in a group for a shared goal or product.
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Clarifying ideas – Ask students to confirm or take an idea further.
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Change of context – Plan or think outside of the classroom (in planning); consider a topic in a different space or place and the effect that has (in understanding a topic); or allow students to see things in a new perspective and/or space (when stuck on a problem, change your space such as move around, go outside, under your desk, on the floor, walk and talk). This also brings in movement which has benefits to thinking.
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Mind mapping – Depict an understanding visually.
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Exploration and discovery – Allow students to discover information rather than telling them what will happen.
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Using different lenses or points of view in exploration and discovery – Explore through the lens of a scientist, historian, mathematician, etc.
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Close reading (such as artful thinking, visual thinking strategies) – Look deeply and discover what is beyond the surface level.
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Researching – Explore multiple options or elements around a topic.
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Teacher or student modeling – Model one or multiple ways to do or create the process or activity.
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Turn and talk – Turn to a partner and explore an idea or share thoughts.
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Scaffolding – Set up various levels or entry points to a lesson to allow students of multiple levels or interests ways to access information.
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Challenging thinking – Share or present a new or previously unexperienced point of view and ask students to respond to the new information.
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Inquiry questions – Provide an opportunity to develop and consider big questions with no specific answer.
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Pre-assessing through questioning or story – Find out student base knowledge in a non-threatening manner.
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Teaching technical and academic vocabulary – Use word splash, word wall, glossary, read summary, and discuss unknown words.
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Real world application/rationale – Establish importance or links of material/content/activity to students’ lives, linking student projects and conversations to real-life experiences.
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Personal choice of themes or topics – Allow students to choose material or topics for art that they find interesting.
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Peer interviews – Allow students to work with peers to gather other points of view or understanding.
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Quick thoughts – Share ideas and understandings quickly without judgement.
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Structured peer critique – Have students provide each other with feedback and questions to evoke further thought.
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Journaling inquiry – Have students write or sketch responses.
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Brainstorming – Have students individually or in groups share out thoughts that are not fully developed but are intended to start the process of idea creation.
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Specific protocols for group sharing – Have different ways to group and share information and understandings.
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Collaborative discussions in process – Have students work out ideas and problems in the safety of a group.
The teachers then created a standards-based lesson using these instructional shifts and taught them in their home schools and learning environments. They considered and included teacher and student reflections about these shifts and wrote about the experience and shared these lessons on the Think 360 Arts for Learning Peer Exchange network. Check them out and add your own ideas to the Peer Exchange! More resources from the Instructional Strategies Institute will be available in January on the CDE District Sample Curriculum home page. Resources: Gates, L. (2016). Rethinking art education practice one choice at a time. Art Education, 69(2), 14-19. Gude, O. (2013). The bricolage concept. School Arts, 112(7), 19-21. Jaquith, D. (2011). When is creativity? Intrinsic motivation and autonomy in children’s artmaking. Art Education, 64(1), 14-19. National Core Arts Standards: A Conceptual Framework for Arts Learning Retrieved on October, 2, 2016 at: http://www.nationalartsstandards.org/content/conceptual-framework#sthash.heDwSQC0.dpuf Sabol, R. (2013). Seismic shifts in education landscape: What do they mean for arts education and arts education policy?, Arts Education Policy Review, 114(1), 33-45. Stewart, C. (December, 2016) Personal communication. Stewart, M. G. (2014). Enduring understandings, artistic processes, and the new visual arts standards: A close-up consideration for curriculum planning. Art Education, 67(5), 6-11. Sweeny, R. (2014). Assessment and next generation standards: An interview with Olivia Gude. Art Education, 67(1), 6-12. Thompson, C. M. (2015). Constructivism in the art classroom: Praxis and policy. Arts Education Policy Review, 116(3), 118-127.
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Interview with Joanna and Eric Johnson of Slate Falls Press by Autumn Hartshorn I personally believe that an important quality within an artist is art. Art comes in many forms, but the overall concept of it is to inspire others, make them think, and tell a story with whatever time you’re given with the audience. When I was given the opportunity to interview Joanna and Eric Johnson from Slate Falls Press, they inspired me. I could see the heart that they put into their kids’ books right off the bat. Joanna and Eric are based in Loveland and have created several children’s books that have beautiful storylines and art. They create their books right from their own home! Joanna writes the books while Eric illustrates. Together they make the perfect pair! “I always liked to draw and this gave me the chance to draw!” Eric said. Eric has worked in the art field for awhile, taking on various tasks such as murals and graphic design. When it comes to the art in these books, he uses watercolors, colored pencils, and ink to bring his creations to life. Major influences in his art include
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illustrators such as Beatrix Potter and Ernest Howard Shepard. He follows the trend of bringing animals to life. Eric has drawn chipmunks, mice, birds, and even platypuses. He goes through a long process to create these characters. First, he studies the animal itself, how it moves, and draws it realistically. Then, he takes those sketches and ideas and imagines how to give the animals more human-like characteristics, including how they would walk and speak, and even what different clothing would look like on them. After that, he takes what Joanna has written and sketches out the full scene and gives it color. Then it’s done! His illustrations are heavily inspired by nature and blow any reader away, no matter what age. “We have three children together and our stories are inspired by our kids,” Joanna said. “We’ve taken things that seem little to us adults, but they’re really important to kids. We’ve really tried
to address those in a light way with the creative world that Eric invents with our kids in mind.” Joanna writes the stories within these books that help kids overcome different obstacles in their lives. Some of the storylines include overcoming the fear of swimming and adjusting to having a new sibling. Joanna actually takes on more than just writing the books. She also designs knitting patterns that can be found in the back of every book. The patterns are for different items seen within the story, whether it be what the character wears or uses, or even a knitted version of the character itself. She has even made a knitting pattern book titled Green Gable Knits that includes different garments and accessories based on the novel Anne of Green Gables. She has recently collaborated with her daughter to create another book which will be out soon, based on the fictional character Sherlock Holmes. When asked about advice they would offer to kids going into writing and illustration, Joanna commented, “You need to do two things: you need
to read a lot and you need to write a lot. Go out of your comfort zone and read a book that you maybe think you wouldn’t like and you might be really surprised at how much you enjoy it.” For illustration, Eric explains, “I would suggest you keep drawing! You’ll find a place to use it!” These two paired together are quite the dynamic duo. Their art is unique and has a different kind of motivation compared to most. I couldn’t help but smile the entire time I interviewed them because the heart and dedication they put in their work truly shines. If you’d like to see more of Joanna and Eric Johnson’s work, you can go to their website (slatefallspressbooks.com) or you can find their books on Amazon. Here’s the link to my video interview with them: https://www.youtube.com/watch?v=MwboROiwut A&feature=youtu.be&rel=0
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ArtSource Through the Years: 20th-Year Celebration And My Journey from Wallflower to Leader by Pam Farris
On September 10th, 2016, we honored the past, present, and future of ArtSource with a party celebrating its 20th year. If you missed this celebration put on by Kelly Mansfield and Michelle Zuccaro at the Next Gallery, you missed a great party. We had most of the original members who attended the Prairie Visions Institute which launched the idea of ArtSource. At the party, there were ArtSourcers rekindling old friendships and making new ones. It was a great time of remembering. Some stories were about remembering how speakers helped us think differently about teaching; some stories were about an art piece that connected us with being artists. Many stories were about how, in various ways, ArtSource provided support and growth opportunities that changed the course of careers. I started in 1999 when ArtSource was still getting established. I was the only art teacher at a private school and felt pretty alone. The first year that I attended the ArtSource Institute I felt intimidated by the impressive roster of attendees. So, that year, I was a wallflower. I listened and learned from seasoned teachers. I found a community. Over the years, I went from a wallflower to the logistics
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chair and then, in 2010, Sharon Rouse gave me the reins to be the chair of the whole ArtSource organization. From the beginning, ArtSource was in the forefront of art education. The focus was on leadership, standards, and assessment. Because of that foundation, standards and assessment are now a mainstream part of schools and many of the leaders in Colorado art education attended the summer institute. What do teachers need now for professional development? How do we prepare the next generation of art teachers? How do we keep ArtSource going for another 20 years? In July 2016, the new ArtSource chair, Michelle Zuccaro, took the reins and will lead ArtSource into the future. She has innovative ideas and a strong advisory board to help. If you haven’t joined ArtSource, you’ve been missing out on the best professional development for art teachers in Colorado (other than CAEA, of course). You will meet teachers from every corner of the state and find yourself with your “own kind.”
Over the years, I went from a wallflower to the logistics chair and then, in 2010, Sharon Rouse gave me the reins to be the chair of the whole ArtSource organization.
In July 2016, the new ArtSource chair, Michelle Zuccaro, took the reins and will lead ArtSource into the future. She has innovative ideas and a strong advisory board to help.
ArtSource Founders
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2017 CAEA MIDWINTER
CONFERENCE- Register at www.caeaco.org Saturday, February 25, 2017 Check in: 7:30 AM; Classes run from 8 Am to 3 PM Lunch will be provided Arapahoe Community College Art & Design Center 2400 W Alamo Ave Littleton, CO 80160
VALERIE SAVARIE www.valeriesavarie.com
ALTERED BOOKS
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Altered Book Art Learn the basics of creating altered book art by cutting, collaging, drawing, painting, sewing and just letting your imagination run wild! We will be working on what I call the “Mouse House” style of altered book which is a great beginning project. The cutting will be rough and allows for a more free form style – as though a mouse has chewed through it to create its home. Any little critter could ultimately live inside the 3-D world you create, the choice is yours. Using stencils for cut-outs adds to the overall composition by creating depth and shadows in a predominately black and white back ground (text and page). You can create your inhabitants (draw or paint) or use images from book scraps that are provided. If you would like more of a challenge - precise clean cut, this is an option that can be worked on instead as the same basic tools are used – just need a steady hand and a bit more patience. A book will be provided but you may bring your own if you have one that you are wanting to turn into art.
MATERIALS & DETAILS Limit of participants: 15 Materials provided: * Book (vintage Reader’s Digest) * Illustration board * Stencils * Mod Podge glue * String * Sheets of Canvas * Book page scraps * Band-Aids ;)
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TADASHI HAYAKAWA HTTP://WWW.TADASHIHAYAKAWA.COM
LARGE ORGANIC PAINTING
Drawing Large Organic Imagery Tadashi Hayakawa was born in Japan, to an artist loving family. At the age of 19 he immigrated to the US, and studied art in California. In 1969 he received an MFA from OTIS Art Institute. He became a successful graphic artist owning the business. At the age of 50 Tadashi gave up the Bohemian lifestyle and decided to pursue his real passion painting. He found himself in Denver and has since gained awe in the public eye. His paintings are spiritual, moving and introspective. Tadashi shows internationally in Los Angeles, New York and Japan. Tadashi‘s workshop will explore a sensitive and ethereal approach to charcoal, pencil combined with non-traditional mediums. Students will work with canvas. Participants will work from life. Tadashi will share his techniques and will work in a large format. This is a perfect workshop for the person who loves drawing and painting.
MATERIALS & DETAILS Limit of participants: 15 Materials you bring to class: • Large Canvas (1 or 2) • Charcoal
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• Pencil/ Erasers/ Pastels o Brushes o Turpentine o Water container
YENNI TAWAHADE yenni@yenniart.com
FIGURE DRAWING
Drawing the figure- through sculptor’s eyes
Denver artist Yenni Tawahade traveled from Ethiopia to America in 1974 to study in pursuit of knowledge and new experiences at the age of 16. After two year living the American Experience he found his first true love – fine arts. After receiving a BA from Olivet College in Michigan he continued the study of human anatomy and figurative sculpture with nationally renowned artist and teachers Jay Holland and Russell Kietter at the center for creative studies in Detroit. Before receiving his MFA from Howard university in 2011 he was an assistant teacher to internationally known master sculptor Valentin Okorokov. Due to Yenni’s continued development of his skills and understanding of the human form and structure in a more refined way he now teaches figurative drawing at RMCAD and Arapahoe Community College. He also teaches Classical Figure sculpture at ASLD.
MATERIALS & DETAILS
Limit of Participants: 15-18 Materials Fee: $12.00 Figure Fee
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This figure drawing course allows students to exercise and develop both observational and constructive drawing skills. Students continue their study of gesture, the effect of light and shade on form, planes, constructive anatomy techniques, and learn proportional techniques from a sculptor’s point of view. Students will explore the uses charcoal, conté crayon and inks on various drawing surfaces. Students will be able to improve their ability to see clearly and understand what they are looking at. Learning to integrate all the visual elements like volume, planes, anatomy, and gesture; they will development confidence in drawing the human body.
Materials you bring to class: • • • • • • • • • • • • • • • • •
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vine charcoal, 3 of each, soft, medium, hard compressed charcoal pencils, 1 each, (dark, medium, light) 2 compressed charcoal stick graphite pencils set (2B, 4B,9B, HB optional) kneaded eraser gum eraser emory board conte, 2 stick each color (black, white and medium tone gray) chamois skin or very soft cloth 18” x 24” drawing pad, Newsprint black felt tip pen (both fine and wide) drawing board w/ clips 18”x24” artist tape 24” metal ruler with cork back 9” x 12” sketchbooks, spiral bound recommended A brush to clean the surface If you want to explore any other medium (like watercolor), please bring the materials with you.
KATIE HOFFMAN HTTP://KATIEHOFFMAN.COM
WHIMSICAL MONOPRINTING
Monotype Printmaking's Brash & Sassy Younger Sister
Participants will explore the spontaneous, fast paced possibilities of monotype making. Intuition and personal imagery will be encouraged, and we'll dabble in stenciling and stamping the plate to create visual interest. Working back into the “ghost,� the ink left on the plate after the first pull, will be an important part of the workshop. The rich middle tones and intuitive decisions sparked by what remains on the plate can make for some compelling imagery.
MATERIALS & DETAILS Materials fee: $10 Materials Fee Covers: Printmaking plates, ink, solvent, stand oil, printmaking paper, disposable tools for mark making, stamps, stencils, plastic wrap
Materials you bring to class:
Your own brayer, a palette knife, and thin cotton rags or paper towels. Optional: Your own printmaking paper, if you have something you are partial to. Reference photos of people, animals, buildings etc. Any stamps or stencils you might already own and want to use. (I will be providing a selection of these.) An apron (can double as a rag!)
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First Pull
Ghost, re-worked on plate
KATIE CARON CERAMICS
Katie Caron is presently Head of Ceramics and Sculpture at Arapahoe Community College in Colorado. Caron graduated from Boston University in 2000 with a Bachelor of Science in English Education and minor in Theater Arts. After graduation, she decided to pursue her art fulltime and moved to Colorado. In 2007, Caron was accepted to the graduate program at Cranbrook Academy of Art in Michigan and graduated with a MFA in Ceramics and Sculpture. She taught for 5 years as Assistant Professor in Fine Arts and Art Education at Rocky Mountain College of Art & Design. She has completed numerous site specific installation for the Denver Art Museum’s exhibition Overthrown: Clay Without Limits, for Project Miami , University of Michigan, Redline Art Space and Republic Plaza in Denver. She was reviewed for Drosscapes, an immersive environment, in Sculpture Magazine’s June 2013 issue and will be profiled in Boulder Magazine in January 2017 issue for her new body of work Autonomic Healing at Naropa University. Caron is represented by William Havu Gallery and has a studio at the Temple in Denver. Katie Caron resides in Littleton, CO with her family.
Image Transfer on Clay Through the integration of printmaking and ceramics techniques, students will learn how to create designs on ceramic surfaces and objects. Emphasis will be placed on burning screens and then screen-printing transfers with ceramic surface slips.
*Students can come with an 8” x 10” size series of black line art images to use for their screen-printed imagery; one paper copy or jpeg are accepted.
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Clip art will be provided for students unable to format their own imagery before hand (see attached example).
MATERIALS & DETAILS Materials Fees: $10 Materials fee covers: Photo EZ screen, under glazes and clay.
SARAH RENSHAW sarahrenshaw.com
JEWELRY
Jewelry informs the wearer through physical contact regardless of choice. This contact is undeniable and will undoubtedly leave the wearer with some sort of emotional effect. As a maker, I aim to alter the traditional context of jewelry as strictly ornamentation and create a body of work that no longer follows the established paradigm. I am intrigued by the sensations of materials on the skin, i.e., how various textures can affect the comfort and emotional capacity of the piece. The physical contact affects the wearer in such a way that it causes an emotional reaction that mimics the physical sensation. I have been exploring the concepts of texture and weight and how their presence or absence can completely alter the wearer and the viewer’s perspective. While this work deals with contact of inanimate objects, I also rely on the universal need for physical contact to inform me. Our desire to be touched or the repulsion we sometimes feel when in close proximity with others must be considered. This can vary from distress and agitation, to comfort and ease, depending on the comfort level of people in their environment. I would like this body of work to evoke one’s tactual response to a variety of stimuli.
Electrolytic Etching for Jewelry and Metalsmithing
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This course will cover using electrolytic etching to create imagery on the surface of metal. Students will explore using various metals such as copper, mild steel, brass, and silver to provide options for personalizing their work. A variety of power sources, as well as the pros and cons to cupric nitrate vs. saltwater will be taught to encourage and assist a more environmentally conscious studio approach. All students will leave with a finished wearable piece. A variety of cold connections will be covered while the pieces are etching to build up a finished piece.
MATERIALS & DETAILS Participants
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Materials fee: $15 Some hand tools will be available to borrow during the workshop. Materials fee covers: • Sheet Metal (copper, brass, or mild steel) • Resists • -Blue PNP (press and peel paper) - a variety of images will be preprinted • -Oil based Sharpie Paint Pen –Red • -Enamel paint • DC power source - This can be a plating rectifier (3A will be plenty for the vast majority of projects). A DC wall plug with wires stripped at the end is cheap and useful if you are etching small pieces (the amperage rating is not high enough for larger ones). • Copper nitrate trihydrate - and Salt water • Positive and Negative leads with alligator clips • Plastic or glass container to fit your plate horizontally. -or- Plastic or glass container in which you can vertically submerge your plates
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• Cathode - copper, silver or stainless steel sheet or mesh; half to the same size as the surface area to be etched. Match copper to copper/silver to silver. Stainless works for both • Anode - copper or silver to etch • Etching resists - vinyl, PNP (blue Press and Peel Paper, Lascaux acrylic resist, tape, spray paint, paint pen, waxes, oil based crayons, etc. • Nitrile gloves
Materials you bring to class: Silver is optional but must be provided by the student Hand tools such as a jewelry saw, blades (2/0 recommended) sandpaper, files, safety glasses etc. If using PNP paper you may bring a very high contrast image on a flash drive in black and white with no gray scale. Many images will be provided and the conversion technique will be shown if participants would like to use their own digital imagery. At least an N95 particulate mask
2017 CAEA Fall Conference “It’s Always Time For Art” Click here to submit your workshop proposal Workshop proposals are due June 1st, 2017 Save the Date! November, 2nd - 5th, 2017 Breckenridge, Colorado at Beaver Run Resort
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Room Sleuth by Bethany Narajka
What is Room Sleuth? Room Sleuth is an ongoing action-research project that began in early 2015 with a grant from Denver Public Schools’ Imaginarium. Realizing how rare it is for art teachers to visit more than a handful of other art classrooms throughout their careers, I created a website (roomsleuth.org) that features easily-accessed photos with descriptions of key areas in art rooms.
Is your art room amazing and perfect? Absolutely not. I haven’t put my own room on Room Sleuth yet because I re-work everything so often that I never think it’s ready. I have a lot of respect for the teachers who have been willing to let me crawl around their rooms with my camera!
How did it begin?
What has this action research revealed?
As a new art teacher, my knowledge gap regarding classroom organization and systems was profound. My confusion affected my classroom discipline, relationship with students, and the quality of the artwork that my students produced. I taught for nearly three months before visiting other teachers’ rooms occurred to me. Gathering photos and interviewing teachers about their spaces quickly revealed how closely the room structure intertwines with the educational philosophy of the teacher, and I knew I had to dig deeper.
I’ve realized that art teachers are typically more embarrassed than excited to share their spaces. As I’ve written on the Room Sleuth blog, many of us believe that we’re supposed to have the coolest room in the school… and we do, but not because it looks like Vogue Living in photos.
Who uses it? Room Sleuth is a free website that anyone can access from their computers or phones. With no formal advertising aside from my presentation at the 2015 CAEA fall conference, Room Sleuth currently receives an average of 300 site hits per week. Many of those visitors are from Metropolitan State University of Denver (MSU) and the University
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of Northern Colorado (UNC), where it is used as part of the Art Education curriculum.
I have a quote on my desk by George Szekely, the president-elect of NAEA, that reads, “The essential goal of art teaching is to inspire children to behave like artists...to reveal to them that art comes from within themselves and not from the teacher.” My greatest fear as an art teacher is that my students will leave elementary school and never initiate their own art-making. When the onus lies on my students to take ownership of their ideas and of the art room, they see themselves as capable, creative inventor-artists. The skills they need to access materials in my classroom are transferable to the outside world.
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It’s been amazing to witness how my K-5 students react to the changes. They take on more responsibility than I could have imagined, often begging to take their artwork home for homework, work on it during recess, and finish it at our neighborhood Boys and Girls Club over the weekend.
Creating systems that rely on student autonomy is not an easy move! I continue to ask for the insights of my colleagues to improve how my room functions. It’s been amazing to witness how my K-5 students react to the changes. They take on more responsibility than I could have imagined, often begging to take their artwork home for homework, work on it during recess, and finish it at our neighborhood Boys and Girls Club over the weekend. What’s the future of Room Sleuth? I am in the process of designing the site for maximum growth and ease of use, as well as documenting
classrooms when my schedule permits. Teachers are always welcome to follow the steps on the “Get Involved” tab to share their rooms with me by email. Eventually, I hope to open Room Sleuth up to other subject areas as well. Hearing from site visitors means a lot, and I definitely put your ideas and suggestions to use! If any CAEA members have experience with developing a website and publishing educational materials, I welcome your insight! This is largely uncharted territory for me and, while I’m loving every moment of it, I am eager to learn from those who have gone before me. (Bethany.narajka@ dpsk12.org)
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80 Years: CAEA’S Artistic Journey at a Glance by Vanessa Hayes-Quintana A Brief History If you want to know where you’re going, sometimes it’s helpful to know where you’ve come from. Colorado has a great 20th century history of supporting art teachers all across the state. Today, we grapple with problems and issues pertinent to our time, yet many concerns and traditions are the same now as they were eighty years ago. I’ve compiled a selection of material collected throughout the years to share. Each Collage this year will contain something new. I hope you enjoy these interesting pieces from our archives. CAEA began in 1937 as the Colorado State Art Association (CSAA) under the umbrella of the Colorado Education Association. The state association communicated with members in virtually the same way we do today. They produced bulletins and organized spring conferences, and organized traveling exhibits and library loans. Bulletins functioned like our Collage magazine. Bulletins strictly adhered to their given theme, and contained about five articles and lessons plans. Over time, spring conferences gave way to fall conferences. The first fall conference occurred in 1967 for the same reasons we’re having our spring conference in late winter this year – spring time for art teachers was just as busy back then as it is now! The Art Association’s activity was abandoned in 1942 due to the focus on World War II. Later, in March 1947, a group of individuals dedicated to re-establishing CSAA produced a Colorado State Art Association Bulletin to be distributed to all art teachers in Colorado. One of these individuals
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was Vance Kirkland, renowned Denver artist and Professor of Art and head of the Art Department at the University of Denver. The 1947 bulletin included an invitation to Colorado art teachers by Richard Ellinger, Chairman of CSAA and of the Colorado State College of Education. Ellinger urged teachers to “join heads and hands in a common purpose to become members.” The 1947 bulletin also included an article by Vance Kirkland titled “The Need For Artists” and the announcement of a spring conference that featured Vance Kirkland as a presenter. (See Sampling section of this article to read Ellinger’s invitation and Kirkland’s article.) CSAA became the Colorado Art Education Association (CAEA) in 1957 (Constitution, 1957), ten years after the founding of the National Art Education Association (NAEA) (https://www.arteducators.org/about). It’s notable that the ongoing success of CSAA can be attributed to the dedication of many university professors from all around Colorado and Colorado’s community institutions: the Colorado State College of Education (now the University of Northern Colorado); the University of Colorado Boulder; the University of Denver; Metropolitan State College (now Metropolitan State University of Denver); Adams State University; Colorado Mesa University; the Denver Public Library; and the Denver Art Museum.
A Sampling of Archive Notes and Correspondence Ellinger Invitation and Kirkland Article in the 1947 Colorado State Art Association Bulletin
In March 1947, a group of individuals dedicated to re-establishing CSAA produced a Colorado State Art Association Bulletin to be distributed to all art teachers in Colorado. This bulletin included an invitation for Colorado art teachers to “join heads and hands in a common purpose to become members.�
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Art Education and Science Development in the Elementary School, by Augusta Schreiber, Supervisor, Littleton Public Schools
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“Bulletin Board Arrangement� by Gladys Wells, State Art Association of Colorado Bulletin, December 1939, Vol. 1, No. 1.
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“Improving the Appearance of Rooms and Corridors” by Denver Public School Contributors, April 1940, Vol. 1, No. 3.
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“Parents and Child Art” by Kathryn Kellet, State Art Association Colorado Bulletin, October 1940, Vol. 2, No. 1.
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CSAA became the Colorado Art Education Association (CAEA) in 1957.
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General Suggestions for Prospective Teachers Major fields of teaching interest were omitted for brevity of content. Note that regardless of major area of teaching interest, the number of hours required for each content area are all similar.
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Questions in Art Education that Persist Today Many issues of art education that exist today were active questions in the early 20th century art education.
“Art Education: A List of Books for Teachers.” Art Booklist No. 34, Denver Public Library, Fine Arts Department,1937.
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Teachers then and now question how to handle: • teaching methodology versus artistic skill of the teacher; • teaching for artistic behavior versus artistic results obtained through methodological approaches; • teaching in rural versus large city schools; • adjusting to the nature of new methodologies in art instruction including arts integration; the relationship of art instruction to social, economic conditions, and child-centered curriculum; and the various avenues of art making available through the community such as museum education, the library, and within local communities; and • presenting art as an inextricable aspect of every day activity.
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2 0 1 6 CA E Confe
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EA F a l l rence
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3D Printing in the Art Room: A “"Creative Limit" Design Challenge Project by Kim Chlumsky I love setting limits for my students. Creative ones. We all give our students expectations for projects, but what about limiting them in some way? What will limits do to push their creativity? I have done something similar in drawing, painting, and sculpture classes, but wanted to incorporate the idea of the creative limit in my Digital Media class. This is my digital art class where students learn how to use Adobe Photoshop, Illustrator, Photography, Code, and now‌ 3D Printing! I received a generous grant from the school I teach at (Rocky Heights Middle School in Douglas County) and was able to purchase two Form Lab,
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Form 2 3D printers. These are resin 3D printers that print a very high resolution, detailed print using ultraviolet lasers. Basically, the light hits the resin, and it hardens. I had been using a MakerBot 3D printer, which prints with plastic filament, but it had been used so much that it stopped working. It had given the students a great experience with 3D printing. Anyways, with the two new printers, we can print twice as much, twice as fast! So exciting! As I was designing my projects for this year, I wanted to give the students some direction for their 3D printing project and not just leave it open to make ANYTHING they wanted (hello phone
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cases galore). The goal for other projects was for them to learn the program, Tinkercad, which is a challenge in itself, so that is why I had left what they created so open. While there was great learning going on, the products weren’t where I wanted them to be. That is where creative limits came in! Students were challenged to design a sculpture using only one shape or form, but had to, of course, incorporate positive/negative space and think about whether their sculpture would be in-the-round or relief. Students were introduced to a variety of 3D printing processes (Tinkercad, Adobe Illustrator, Drawing, and the iPad app PrintShop), and could choose what they felt most successful with to create their 3D print designs. Students took this limit and ran with it! They created fantastic abstract and even realistic sculptures while sticking to their creative limit. This limit helped them to use tools more successfully in Tinkercad, Adobe Illustrator, and the PrintShop app. They thought more creatively and had the most amazing responses about how they would use the creative limit to push their creativity further! Essential Questions: How does a creative limit help to push your creativity further? What does a creative risk look like? CVA Standards Invent and Discover to Create Purpose of Project Artists will design a relief sculpture to be 3D printed using Tinkercad online, PrintShop (from MakerBot) on the iPad, or Adobe Illustrator. Artists will be limited to using only one shape or form to design their sculpture; the purpose of limited tools is to encourage the artists to think even more creatively. This will result in a more unified sculpture. The Challenge or the “Creative Limit” • Artist can use only one shape or form, multiple times. • Relief sculpture needs to show a balance of positive and negative space. Questions for Discussion • How does a creative limit help to push your creativity further? • What are things you could do to change how the shape or form looks? • How do the positive and negative space used interact with each other? Materials • A 3D printer.(I am using a Form Lab 2 for my students. This is a resin 3D printer, with a high resolution. CLICK HERE to see more!) • Don’t have a 3D printer? You can send your .STL files out to companies to be 3D printed! • Computers with internet connection • iPad • Adobe Illustrator • Paper/Sharpies • Tinkercad Account (free!) Timeline • Depending on how complex the sculpture, this project could be completed in a minimum of 4-5 class periods. • Depending on the size of the sculpture, 3D printing will take different amounts of time. The sculptures made for this assignment took 2-3 hours each to print.
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• Day 1 & 2 - Create a variety of sketches of possible sculptures and begin exploring the software that will be used to create project. • Day 3 & 4 - Design project using the digital medium of choice. • Day 5 - Self-evaluate project and turn in file to be 3D printed. Project Options • Tinkercad • Create an account. • Write down your username and password! • Complete the tutorials so you know how things work. • Use the forms in Tinkercad to build your relief sculpture. • iPad • Use the PRINTSHOP APP on the iPads. • Once you are in the PRINTSHOP APP, go to SHAPE MAKER. • You will use a combination of SHAPE MAKER and DRAWING on paper to create your design if you use the iPad. • Create a drawing with one SHAPE on white paper, with a Sharpie. All shapes should connect in some way so that the 3D print doesn’t fall apart. • Adobe Illustrator • If you have access to the MacBooks, you can use Adobe Illustrator to create your design in black and white, save it as an .SVG file, then import it into Tinkercad to make it a 3D object. • From Tinkercad, download the .STL file for 3D printing. Assessment Self -Assessment for students
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Pierced Porcelain Lesson Plan for Grades 5–12
A modern take on ancient Chinese "rice grain" porcelain! Start with white clay rolled into a slab, then use tools to add patterns and textures. Piercing or puncturing the clay results in a beautiful, modern version of an ancient Chinese art form. DickBlick.com/lessonplans/pierced-porcelain FREE lesson plans and video workshops at DickBlick.com/lessonplans. For students of all ages! materials for
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School of
Art and Design LOW RESIDENCY MASTER OF ARTS DEGREE The Low Residency Art & Design Master’s degree is designed for current art educators who wish to build upon their credentials while pursuing development as artists, teachers, and leaders in the field of art education. • Reconnect with your studio practices and develop new teaching strategies • Courses designed to fit your schedule with two summer residencies and courses conducted online • Learn through both expert faculty and practical field application • Discover new resources and contacts • Synthesize your personal talents with curricular interests
TO LEARN MORE ABOUT OUR LOW RESIDENCY PROGRAM, VISIT ARTS.UNCO.EDU/ART-LOW-RES. 86.
2017 Youth Art Month Award Winners
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These works will travel to New York in addition to the works of our overall and level winners: Teacher: Kelley DeCleene, Student: Amy Jiao, Grade 8, Cherry Creek Challenge School Teacher: Cindy Migliaccio, Students: Lilly Turken, Grade 7, and Julio Jamie, Grade 8, Cherry Creek West Middle School Teacher: Rachel Dunn, Student: Peyton Rand, Grade 7, Drake Middle School
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CAEA TASK FORCE CHAIRS & PUBLICATIONS Title
Name
Natalie Myers Pam Starck Elizabeth Stanbro Kelley DeCleene Kim Williams Robin Wolfe & Michael Cellan Tiffany Holbrook Alexandra Overby Rosemary Reinhart & Elisabeth Reinhart Janet McCauley
coloradokidscreate@gmail.com tplbstark@aol.com justine_sawyer@yahoo.com kjdecleene@gmail.com caeaawards@gmail.com caearobin@gmail.com Tiffer_1122@yahoo.com alexaoverby@gmail.com rsrhart@gmail.com janetmccauley@comcast.net
Task Force Chairs Commercial Scholastics Youth Art Month Arts Advocacy Awards Web Master Social Media Collage Editor Collage Copy Editor Collage Layout
CAEA EXECUTIVE BOARD & DIVISION REPRESENTATIVES Title
Name
Executive Board 2016-2019 President President-Elect Vice President Interim Treasurer Secretary Past President
Vanessa Hayes-Quintana DJ Osmack Ben Quinn Alexis Quintana Rachael Delaney Elizabeth Licence
caeapresident@gmail.com dosmack@jeffco.k12.co.us bennyquinn@hotmail.com lexi.quintana@me.com taranpappas@yahoo.com elicence@comcast.net
Title
Name
Division Representatives Elementary Multi-Level Middle School High School Private/Independent/Charter Private/Independent/Charter Museum/Gallery Supervision Higher Education Retired Student
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Amy Marsh Carrie Mann Chris Lager Justine Sawyer Jesse Diaz Sam Mizwicki Sarah Kate Baie Open Theresa Clowes Open Open
abeth127@yahoo.com carrieartmann@gmail.com clager@jeffco.k12.co.us justine_sawyer@yahoo.com JDiaz@cca-denver.org sam.mizwicki@gmail.com sarahb@mcadenver.org tclowes@rmcad.edu
CAEA REGIONAL REPRESENTATIVES Title
Name
Regional Representatives North West North Central North East Metro Metro East Central South Central South East South West West Central
Open Sharon Jacobson-Speedy Christina Martinez Kim Chlumsky Michael Carroll Open Lisa Cross Open Kari Pepper Open
speedywheat@aol.com martinezch@hcosd.org kmchlumsky@gmail.com mcarroll@jeffco.k12.co.us lcross@d49.org kpepper@bayfield.k12.co.us
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For CAEA details and event information: go to www.caeaco.org