Arts & Activities Magazine January 2016 by Arts & Activities

CONTENTS J A NUA R Y 2 0 1 6

VOLUME 158, N o. 5

14 16 18 20

THE DIVERSITY OF ART

INTEGRATING THE CURRICULUM: THE COLORS OF AFRICA Susan H. Franklin MATCHING WITH MIGUEL Don Masse ABORIGINAL ART Matt Mazur DIFFERING REALITIES: THE CONTEMPORARY GRAPHIC ART OF DANIEL GUZMAN Justin P. Sutters and Keirsten Savering-Probst 22 MASKS OF FUR AND HIDE Emily Moll 27 AFRICAN MASKS: A TWO-PHASE PROJECT Lori Dudley

YEARLONG HIGH SCHOOL CURRICULUM SERIES

WHEELS Debi West

SPECIAL FEATURES AND COLUMNS

READY-TO-USE CLASSROOM RESOURCES

12 BUILDING A STRONG FOUNDATION ... LESSON 5 OF 10: CREATIVE COLOR

8 STEPPING STONES ... Art History strategies Heidi O’Hanley 10 CHOICE-BASED ART: choosing choice in education Elizabeth Rubenstein 46 TRIED & TRUE TIPS FOR ART TEACHERS: THE DIVERSITY OF ART Glenda Lubiner

23 ARTS & ACTIVITIES ART PRINT FEATURE, WOMEN ARTISTS: MARIANNE VON WEREFKIN Colleen Carroll 45 ARTS & ACTIVITIES STUDY PRINT: NGAADY A MWOOSH MASK

A&A AT YOUR SERVICE

DEPARTMENTS

33 2016 BUYER’S GUIDE 41 AD INDEX 42 VOLUME 158 INDEX

4 EDITOR’S NOTE 30 MEDIA REVIEWS 31 SHOP TALK

ON THE COVER

UNTITLED Mixed media, 14" x 11". By Macayla, grade 2, Tarawa Terrace (North Carolina) Elementary School. See “Integrating the Curriculum: The Colors of Africa,” page 14.

SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. AD SALES: (800) 826-2216; ads@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128. Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 12345 World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign subscriptions, add $35 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery to his or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodical postage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark. POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.

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12 3

e d i t o r ’s n o t e

Art is a natural way to introduce students to the diverse peoples with whom we share this planet. In the art room, the unique-

president

Thomas von Rosen

e d i t o r a n d p u b l i s h e r Maryellen Bridge

a r t d i r e c t o r Niki Ackermann

ness of individual cultures is celebrated and respected, as we continue to

E D I T O R I A L A D V I S O RY B O AR D

learn about each other through appreciation for their art.

Cris E. Guenter Professor of Arts Education/Curriculum and Instruction California State University, Chico

In “Aboriginal Art,” Matt Mazur’s middle-school art students learn techniques and symbols used in traditional art of Australia’s Aboriginal people. “Aboriginal art is meant to tell a story, so I stress the importance of laying out the symbols and patterns in a narrative way,” writes Matt. “I provide … a handout of various Aboriginal symbols … The art principle, balance, is important at this stage; students need to create an interesting layout with their visual story that makes use of the entire composition. When asked, students should be able to guide you around the sketch

Jerome J. Hausman Lecturer, Consultant and Visiting Professor, at The School of the Art Institute of Chicago Barbara Herberholz Art Education Consultant, Sacramento, California Mark M. Johnson Director, Montgomery Museum of Fine Arts, Montgomery, Alabama George Székely Senior Professor of Art Education, University of Kentucky, Lexington

C O N T R I B U T I N G E D I T O RS Colleen Carroll Curriculum Writer and Author of Children’s Art-Appreciation Books, Sleepy Hollow, N.Y. Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota

and identify how each symbol and pattern contributes to the overall story of

Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont

the artwork.” See how his students did on page 18–19.

Amanda Koonlaba Art Teacher and Arts Integration Resource, Lawhon Elementary School, Tupelo, Mississippi

“Culture plays an important role in all aspects of art history—defining the era, enhancing techniques, and representing a meaning all its own,” writes Lori Dudley in her “African Masks: A TwoPhase Project.” In this challenging studio activity, Lori’s high-school artists learn to recognize the mask as an art form with various meanings, which is often used by cultures to depict the social status, and/or magical or religious powers of an individual. Inspired by the bold, abstract designs of the African tribal masks they study in class, students then create their own mask designs that exhibit symmetry, balance and contrast—first as works of art in cut paper, then as original 3-D papier-mâché masks in an African style. Lori does a thorough job describing her lesson on pages 27–29.

Glenda Lubiner Middle-School Art Teacher, Franklin Academy Charter School, Pembroke Pines, Florida Don Masse Heidi O’Hanley

Art Teacher, Zamorano Fine Arts Academy, San Diego, California Art Teacher, Brodnicki Elementary School Justice, Illinois

Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada Debi West Lead Visual Art Teacher, North Gwinnett High School, Suwanee, Georgia

A D V ER T I S I N G D E P AR T M E N T

a d v e r t i s i n g m a n a g e r Tracy Brdicko

tracy @ artsandactivities.com 800.826.2216 or 888.651.7567 p r o d u c t i o n d i r e c t o r Linda Peterson p r o d u c t i o n m a n a g e r Kevin Lewis production @ artsandactivities.com H O W T O REA C H AR T S & A C T I V I T I ES Subscription Services To subscribe, renew, change an address or buy single copies,

These are just two examples of how the art teachers feaured in this issue have introduced their students to cultures different than their own. Read on to discover more ideas that were met with success in classrooms around the country.

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Manuscripts Subjects dealing with art-education practice at the elementary and secondary levels, teacher education and uses of community resources, are invited. Materials are handled with care; however, publisher assumes no responsibility for loss or damage. Unsolicited material must be accompanied by a self-addressed, stamped envelope. For Writer’s Guidelines, visit artsandactivities.com/submit/writers-guidelines/ Address all materials to the attention of the Editor. Simultaneous submissions will not be considered or accepted. Indexes Articles are indexed in January and June issues. Issues of Arts & Activities are available on microfilm and photocopies from: ProQuest Information and Learning, P.O. Box 1346, 300 N. Zeeb Rd., Ann Arbor, MI 48106. (Issues beginning with January 1977 are available in microfiche.) The full text of Arts & Activities is also available in the electronic versions of the Education Index. Copyright Permissions Reproduction of any portion of this magazine without written

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Stepping Stones

Stepping Stones is a monthly column that breaks down seemingly daunting tasks into simple, manageable “steps” that any art educator can take and apply directly to their classroom. Stepping Stones will explore a variety of topics and share advice for art-on-a-cart teachers and those with art rooms.

ART HISTORY STRATEGIES

by heidi o'hanley

s art educators, we do our best to squeeze in as much as we can within our curriculum in the time we have in the classroom. From process to product, elements of art, principles of design, culture, integration and history, we ultimately bridge the gaps between all the subjects, no matter what grade level. One of the most integrated subjects we teach relates to social studies and how the arts played an important part in documenting and preserving our human history. There are many ways to incorporate art history into our lessons for all grade levels. Projects can be an imitation of an artistic style or a practice of a specific method used in creating. Here are only a few of many ways you can incorporate art history into your curriculum.

Ancient Civilizations In ancient histor y, we’ve

discovered how pictures came to be after finding ar t on cave walls and ceilings (Prehistoric). We’ve learned that ar t remained unchanged for thousands of years in cer tain civilizations because of an obsession with order and precision (Egyptian). We’ve also learned that ar t had been a way to document past events throughout histor y. In my district, our sixth-grade students learn about ancient civilizations in their social studies curriculum. Within the school year, they study the Prehistoric time period through the Renaissance, and there’s a huge portion of how ar t helped to create and document our histor y in that time frame. In planning my lessons, I decided to combine my projects with the ancient civilization curriculum. My Prehistoric art include symbols and stor y, and I enjoy using pastels to create the images. I’ve seen students create “cave” paintings/drawings on paper under desks or tables, or they can crunch paper to create the “stone” effect while drawing their images. Egyptian art includes learning about hieroglyphs, the style of profile drawings, and the decorative motifs on their sarcophagi. You can create jewelr y, embossed scarab beetle drawings on copper or aluminum, or even scratch-art portraits on gold scratchboard. In Greek histor y, I share the creation of theater and students make clay faces depicting characters. I’ve also seen various grade level lessons on clay vessels and column designs created by other art teachers. With medieval art, we create stained-glass window designs, but I’ve seen castle constructions, shield emblems, and tapestr y8

inspired lessons. In the Renaissance, we visit the creation of the printing press (printmaking) and finish the school year with a Mona Lisa parody drawing. There are so many projects you can create inspired by the Renaissance that incorporate process and artistic understanding.

World Cultures In studying world cultures, you are also looking into how art documents the histor y and traditions of each culture in different countries. I like to visit cultures throughout the school year, especially the cultures of many students in my district. We have a high population of Polish, Arabic and Hispanic students, and they love it when they create an artwork inspired by their own culture. You can tackle world cultures in many ways. One way would be to create your entire curriculum inspired by different cultures. Each grade level can “visit” a countr y in each project throughout the year. You can also dedicate one entire month solely on cultural projects and host a “multicultural faire” with all the finished projects. If you feel you do not have the time to tackle that amount of work, tr y to fit one cultural project in each grade level at least once throughout the year. Over time, you may develop a variety of lessons inspired by different cultures.

Studying Art Time Periods When moving through

art histor y, we start to break down into different art “eras” that influenced the times they existed. From Baroque to Rococo, Art Deco to Constructivism, Surrealism to Dada, there’s a wide list of styles of art through time you can incorporate into your lessons. In my Primar y grades, I like to work with artist examples from different art styles. I stay within the range of Modern to Contemporar y art because students find more of the colors and styles exciting and love to tr y out the artistic styles themselves. Many art-supply companies offer art histor y “timeline” posters that can be hung around the room. In the past, I’ve attached artwork examples next to the art styles for students to see what time period they’ve learned about while creating their projects. A great way to display your art histor y-inspired examples is with displays. Have fun with creating your own timeline on the school walls and having students fill in the art eras with their own project examples. You can also have students reflect on their work in their artist statements attached to their projects. Your school walls can turn into your own art museum, with you as the curator! n Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Ill. Visit her blog at www.talesfromthetravellingartteacher.blogspot.com. j a n u a r y 2 0 1 6 • 83 y e a r s

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Choice-Based Art

Edited by Nan Hathaway

Choice-Based Art classrooms are working studios where students learn through authentic art making. Control shifts from teacher to learner as students explore ideas and interests in art media of their choice. This concept supports multiple modes of learning to meet the diverse needs of our students. Learn more at teachingforartisticbehavior.org.

CHOOSING CHOICE IN EDUCATION by ELIZABETH RUBENSTEIN

ne of the great things about being a teacher is that you never have to stop learning new things! I attend as many educational classes, lectures and conferences as I can each year. In these presentations, I’ve met and learned from renowned experts in economics, psychology, education and design. Each new encounter brings to light the common theme that a choice-based approach is the best way for students to engage in learning. This applies to all areas of education, not just the arts! So I wanted to summarize this message for you after hearing five of these inspirational speakers, and reading their equally inspiring books. These are all easy reads that speak to the heart of student-centered learning. I recommend you check them out!

Tim Brown and David Kelly from IDEO and Stanford University’s d.school are on a personal and professional

mission to train people from all walks of life in the creative mindset. Their book, Creative Confidence breaks the process into active as well as emotional components. People can be taught to explore choices, but must have the optimism and confidence to believe their ideas are valuable. Learning must provide opportunities for people to quickly build prototypes of their ideas in order to better understand and analyze them. And storytelling is essential, because great ideas are no good unless you can share them and make them real. Economist and author Daniel Pink spoke of the short

shelf life of a “good student,” as opposed to the value of being a good LEARNER, when I saw him speak about motivation and his book Drive. I also recently read another book of his, A Whole New Mind: Why Right-Brainers Will Rule the Future, and found his case studies and framework built around the six senses correlate closely with Choice-Based learning and teaching. Chapters titled: Design, Story, Symphony, Empathy, Play and Meaning guide us to envision our lives through a model of creativity!

growth. Here again is a reminder that the art room is a haven for authentic learning, when compared to much of the rest of a child’s day in school. EVERY student has special needs, says Sir Ken, and we art teachers get to meet them! I can’t wait to dig into his most recent book, Creative Schools: The Grassroots Revolution That’s Transforming Education. Dr. Stuart Brown is medical doctor, psychiatrist, clinical researcher, and founder of the National Institute

for Play. (There is such a place!) He has spent his long career advocating for more play in every facet of our human lives. Play is embedded in the natural habits of humans, and is not purposeless or frivolous. Dr. Brown also shared cautionary tales about the effects of lack of play in the lives of children, citing research that demonstrated an absence of empathy, increase in depression and interpersonal conflict leading to joylessness, workaholism and addiction in adults deprived of play in their youth. This is a real national health issue! Tony Wagner’s book, Creating Innovators, discusses three tenets for success: play, passion, and

purpose. He also defines the essential qualities of innovators as curiosity, collaboration, integrative thinking and a bias towards action and experimentation. Does that sound like any classroom you know? According to Tony Wagner, we are educating the Innovation Generation and they are motivated differently than generations before and lack the leadership role models they need to reach the dream they aspire to. We can be those mentors through our art classrooms! The art room has long been a haven for the outliers. It is a bastion for independence, confidence, problem

solving, collaboration, and flexibility amidst a flood of pressure for conformity and false achievement. Art teachers, have the process, attitude and expertise for guiding the children of today to become the leaders of tomorrow. We can now back up our instincts and intuition with a growing body of research, from a broad range of schools, businesses and institutions, that validates programs, such as Choice-Based Art Education, that value and support studentdirected learning. n

in our school systems. He’s written several books about creativity in education. In his books, presentations and Ted Talks, Robinson speaks of how our education system is structured in exact opposition to how humans learn best. Institutionalized education values conformity over diversity, compliance over creativity, and linear progress over organic

Elizabeth Rubenstein has taught in a variety of private and public school settings since 1990. She holds an undergraduate degree in Industrial Design from Georgia Tech, has studied photography and received her Art Teaching Credential and Masters of Education at Dominican University of California. She teaches both elementary and graduate students. Her current educational passions are Choice-Based teaching and arts integration.

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Sir Ken Robinson is a renowned advocate for change

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Yearlong High School Curriculum Series | BUILDING A STRONG FOUNDATION

Lesson 5 of 10

Creative Color Wheels by Debi West

s I was designing my curriculum 1. Their final piece must be in the for my secondary intro visual art round, hence, a wheel shape students, I realized that they needed 2. Their final piece must depict all 12 to better understand color theories, as color harmonies That’s it! So of course students this is an important part of their art immediately want to know what media learning foundation. I have also realized over the years they can use … and my response is, that simply telling our students about “whatever you want, you tell me!” And color harmonies and then testing them isn’t a very successful teaching strategy. I believe that students have to spend some time experimenting and enjoying some creative freedom while they learn about various color theories and that is how the “Creative Color Wheels” lesson came to fruition. This lesson begins with my walking students through the color harmonies, such as primary colors, secondary colors, tertiary colors, analogous colors, complementary color schemes, monochromatic, and then discuss color vocabulary such as tints, shades, tones, hues, intensity, saturation, local color, etc… The list is long and of course, each teacher can choose to teach these depending on their local and state standards and assessments. Once all of the information is covered, I then open up the lesson to make it completely student centered, hands-on and project based. The lesson is, Students showcased all 12 colors found quite literally, anything they want it to be, as on a traditional wheel with the media and method of their choice. Clockwise, from long as the objectives top left: trash-can lid with dyed recyclables are met. And those by Celine; skirt by Jamie; colorful cookie objectives are simple: cake by Sahna; fingerprint by Luke.

then they want to know the size and, once again, my response is, “I don’t know, but I can’t wait to see what you come up with!” Students review their notes and then begin doing some research via Pinterest or Google images, getting ideas to springboard from. Their first home-

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Lesson 5 of 10

INTRO TO ART CURRICULUM SERIES

Creative Color Wheels Learning Objectives

Materials

High-school “Art 1” students will ... • learn the importance of the element color in an artwork. • learn the color theories and use these in a creative color wheel where creativity is the key component to understanding color concepts

Anything the students want to use. I have had students sew, make edible color wheels, models, make slushy drink color wheels, use mixed media, melted crayons … the possibilities are endless!

Procedures

Is there an art teacher who wouldn’t love this fabulous color-wheel T-shirt?

1. Introduce the lesson by discussing the importance of color in an artwork. 2. Students will learn about primary, secondary, neutral, cool, warm, analogous, complementary, tertiary, triad, monochromatic, tints, shades, etc.

3. Students will then make their own creative color wheel using any media they want, showcasing all 12 colors found on a traditional wheel. 4. Final artworks will be presented to the class, with students explaining what was created and how they mixed their colors.

Assessment I use an evaluation form that prompts students to appropriately reflect on the learning at hand and provides space for them to comment on the process and how they feel their final piece turned out. There is also space for me to comment and give them a grade based on their learning and the final work. I will also assess their ability to present their creative color wheels. Students should use appropriate vocabulary, as well as discuss the medium used.

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Katlyn’s “feathery” color-wheel pillow.

Brendan shows off his color-wheel table fan, with its very own colorful slogan: “FANtasize with Colors. It’s so Fantastic!”

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work assignment is to be prepared to share at least three ideas that they will begin the following day. The ideas that come in are incredible! Each year, my students seem to get more creative and, thus far, I have seen fans, dresses, cakes, slushies, maps, wreaths, dream catchers, shoes, garbage lids with recycled dyed “trash,” balls, and more. I think by opening up the parameters in regard to the media and size limitations, it allows our students the creativity to move to a level they might not have gone to without this freedom and I am always beyond impressed with the results. At this point in the year my students are familiar with various media, with the elements and principles of art, and with the sophisticated craftsmanship and care that is needed (and expected) in a high school visual art course. I do have several students who

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want to sew or cook at home, so then the challenge is: what will they complete during class time? The solution was pretty simple, they will create the ad, or marketing tool, that will accompany their actual creative color wheel! As students work on their projects over the week, they get more and more excited to have the opportunity to present their art to the class. And, by the time we complete all of the presentations, they are more than ready for their quiz and I am content knowing that students have mastered and authentically learned about color theory on many different levels! Next up … Midterm Triptychs! n

Debi West, Ed.S, NBCT, is Art Department Chair at North Gwinnett High School in Suwanee, Ga. She is also an Arts & Activities Contributing Editor. 13

INTEGRATING

the curriculum LEARNING OBJECTIVES Elementary students will … • learn about some important women in African American history. • know the prevalent colors in African flags. • create a blended pastel background. • use their cutting skills. • create a pleasing composition. • connect their art with other disciplines.

NATIONAL ART STANDARDS

•

Creating: Conceiving and developing new artistic ideas and work. • Presenting: Interpreting and sharing artistic work. • Responding: Understanding and evaluating how the arts convey meaning. • Connecting: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• Pastels • 8" x 11" drawing paper • 11" x 14" construction paper: green,

yellow, red and black

• African-design paper or wallpaper • Scissors • Decorative paper-edger scissors • White craft glue

The colors

by Susan H. Franklin

rior to Black History Month, my students were asked to donate their art for an event that would celebrate Black Women in History. I chose my second-grade classes for this project because they soon would be studying black history in their classrooms, and I wanted to connect the students’ artwork with another discipline to give even more meaning to their art. 14

To increase student interest in this project, librar y books about African American women (and men) in histor y were available, from which students selected a woman who sparked their interest. Each child had to understand who the person was and what she had done to make our world a better place. They discussed this as a class and then in a short inter view

Savannah, grade 2.

with me. This took the biggest part of the first day on this project. We then looked at African art and talked about the colors, shapes and designs that made it look African. Many of the works had silhouettes of women, which we decided we would use in our project. We also looked at the flags of several African nations and decided that we would use some of the flags’ colors in our project as well. When I brought out the pastels, the students’ excitement started to grow. I demonstrated how to divide the paper into thirds, use the lightest color pastel in the top third, the medium color in the second third, then use a tissue to blend the colors upward, then use the darkest pastel in the bottom third and blend with a tissue slightly up into the

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use this paper. Some chose to put on a hat, some chose to put on a dress, while others used the decorative paper on hands or feet. These were then glued onto the silhouettes. The last day, students were given

Marissa, grade 2.

Macayla, grade 2.

decorative edger scissors and told to choose from one to all four colors of construction paper—red, green yellow and black. I demonstrated how to cut straight, thin strips from the longest side of their papers. This would ensure that the strips were long enough to use vertically or horizontally; any excess could be trimmed off later. The strips would be used to give their composition more visual interest. I demonstrated how to play with their paper and lay out their designs until they came up with a pleasing composition. Nothing was to be glued down until

we talked and any adjustments could be made. The students then glued their silhouettes and strips of paper onto the pastel backgrounds. The final step was for a mat to be made of construction paper, again in flag colors. I laid out the mats and students placed their artworks on each color before making their selection. The children’s art was then glued onto the mats. This project required a lot of decision-making and problem-solving skills for second-graders. I have found that no matter what age you are working with, if you expect more from your students they usually surpass your expectations. n Susan H. Franklin teaches art at Tarawa Terrace Elementary School in Tarawa Terrace, N.C.

second color. The children really liked this effect. I passed out white drawing paper and let each student choose three colors of pastels: one light, one medium, and one dark. We went step-by-step, so the students wouldn’t end up with muddy-looking colors. They did a great job and were pleased with their results. After school, I took the drawings outside and sprayed the papers with a fixative to set the pastels. The next step was to make a stylized silhouette of an African woman, which we had observed in our earlier African art research. Prior to this class I made templates of the silhouettes and the students chose which one they wanted to represent their woman. Their choice of construction paper for the silhouettes would come from the prominent colors in African flags—red, yellow, black or green. They traced and carefully cut out their silhouettes. Second-grade cutting skills aren’t always well developed, so some of the students had to do this step more than once. Next, the children looked through my collection of African-design paper and chose patterns they wanted to use in their projects. They also had to decide where and how they wanted to www.ar tsandactivities.com

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Matching With Miguel

by Don Masse

Learning Objectives Elementary students will ... • use contour line, pattern and symmetry in a design of their own. • create different color intensities by pressing hard or soft with color sticks. • choose background papers to complement and frame their drawings. • think, write and talk about their art. • use listening skills as classmates talk about their work.

NATIONAL ART STANDARDS

• • •

Creating: Conceiving and developing new artistic ideas and work. Presenting: Interpreting and sharing artistic work. Responding: Understanding and evaluating how the arts convey meaning. • Connecting: Relating artistic ideas and work with personal meaning and external context.

Materials

•

Sketch paper, white construction paper, assorted colored construction papers • Scissors, glue sticks • Graphite pencils, color sticks, large chisel-tip Sharpie® markers

alance. That’s what this project is all about. Old and new. Right and left. Choice and guidance. Speaking and listening. You get the idea. The inspiration for this project is the work of Mexican artist Miguel Mejía (aka “Neuzz”). Miguel’s visual vocabulary of bold lines, strong contrast and pattern stands out in a variety of mediums. His influences include traditional Mexican masks and the legends that his grandfather told to him while growing up in Mexico City.

To introduce my second-graders to contour line,

Children drew jaguars inspired by one of Neuzz’s illustrations, then created one of their own creation next to it, applying their new grasp of symmetry.

Students redraw their chosen design in pencil on a larger paper. Then they trace the lines with a wide Sharpie, using both thick and thin lines.

Students were apprehensive about using only two colors, but were relieved when I demonstrated how to create a wider range by pressing hard or soft in places.

The students cut along the contour line they had drawn around their jaguar faces, which added contrast between it and the background paper they chose.

pattern and symmetry I share still images of Miguel’s work, as well as a short video of him creating a mural in Atlanta (youtu.be/Q3HBp0YiGe4). While sharing these images, we begin to discuss how he uses outlines to define his shapes and how he sometimes creates symmetry by matching one side of his designs with the other. After watching the video, students try on symmetry by following along with me as we create a jaguar inspired by one of Miguel’s illustrations. Then they create one of their own next to it. This step allows them to apply their new grasp of symmetry in a design of their own creation. I ask that students include facial features of some sort, but otherwise, it is wide open. This Jaguar mask, from Guerrero state, is similar to those Miguel stylizes in some of his art. From Museo de Arte Popular, Mexico City. Photo: Alejandro Linares Garcia. j a n u a r y 2 0 1 6 • 83 y e a r s

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Students completed written exit slips about their projects.

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At this point, I ask students to identify which one of their sketches they like better and to share their reasoning with a neighbor. I encourage them to use a “because” statement to support their choice. Like any other step, I model this for them, so they can use the language of art to express their thoughts. Students move on to a larger sheet of paper and redraw their chosen designs. They trace their pencil lines with a wide Sharpie® and I ask them to use both thick and thin lines. I model how they can make both of these line types with large, chisel-tip Sharpies. Students can add color with two colors only. I demonstrate how they can create a wider range of color variety even though they can only use two colors, by pressing hard in places and soft in others. The final step is to draw a contour line border around

their face and cut that line. This adds an element of contrast between the face and background color. They choose a colored piece of paper to frame their drawing and glue it together. Once their drawings are finished, the second-graders complete a written exit slip about the project. I model how this works and go over the questions orally, so they understand what I’m asking them for. To wrap this activity up, students partner present one of their responses at their table. This element gets them not only thinking and writing about their work, but encourages speaking and listening skills in the art room as well. This project was a big hit with my students. They dug the style of Miguel’s work, getting to create their own designs, and talking about their work. They really loved the talking part. n Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California. www.ar tsandactivities.com

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boriginal art began thousands of years ago on cave walls all over Australia. The symbols and patterns can represent native animals, stories that have been passed down through generations, or maps of local landmarks. Many Aboriginal artworks represent “the Dreamtime,” the period of time indigenous people believe the world was invented. I like to compare and contrast Aboriginal art to Native American art—both are often created with natural materials and rely on the use of symbols. To better put things into perspective, I always tell students that the Aborigines of Australia are similar to the Native American people here in the U.S. Native American tribes from different parts of the United States develop different styles depending on their location and the materials available; these differences can also be found in the Aboriginal groups throughout Australia. I begin an Aboriginal project with a PowerPoint showcasing a variety of visual examples. I question the students and push them to examine and draw conclusions about the artworks before I explain them myself. Because of the aerial perspective, symbolism and storytelling that is prevalent in Aboriginal art, there are many meanings that can be uncovered during a critique. I like to point out the use of natural colors and dotting methods found throughout many Aboriginal artworks.

Telling a Story After exploring examples of Aboriginal

art from the traditional to the modern, I have the students spend a day working on sketches. Aboriginal art is meant to tell a story, so I stress the importance of laying out the symbols and patterns in a narrative way. I provide students with a handout of various Aboriginal symbols, which vary from the expected kangaroo and boomerang symbols, to the more unique, like witchetty grubs and emus. The art principle, balance, is important at this stage; students need to create an interesting layout with their visual story that makes use of the entire composition. When asked, students should be able to guide you around the sketch and identify how each symbol and pattern contributes to the overall story of the artwork. Go to artsandactivities.com and click on this button for resources related to this article.

Brady Giovani

Students are also interested in viewing videos of Aborigines making art. As we watched one in particular (youtu. be/14Yfl5O2Pgc), we became fascinated with the sound of the didgeridoos and watching the methodical stamping of dots all over the large artwork—with just a simple stick!

Aboriginal Art by Matt Mazur

Aubry

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Middle-school students will ... • learn the techniques and symbols used in traditional Aboriginal art. • become familiar with and create their own narrative artwork. • properly utilize the art principles of balance and repetition.

NATIONAL ART STANDARDS

• • •

Creating: Conceiving and developing artistic ideas and work. Presenting: Interpreting and sharing artistic work. Responding: Understanding and evaluating how the arts convey meaning. • Connecting: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• • • •

Sketch paper, pencils 12" x 18" white paper, Handouts of Aboriginal symbols Paintbrushes, palettes, tempera paints in a variety of colors

Layouts and Layers Once a student has a great sketch,

he or she can begin drawing it out onto the 12" x 18" paper. I leave the color choices up to the students; traditional Aboriginal art is generally made with natural colors, while contemporary can use brighter and more vibrant hues. After a student has the first layer of paint on the page, the dotting process begins. Aborigines often use sticks of different sizes found in nature. Many art teachers like to use cotton swabs for dotting, but the ends often become frayed and make distorted circles. An easier option is using the back end of a paintbrush. One dip in the paint can usually yield at least www.ar tsandactivities.com

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LEARNING OBJECTIVES

januar y 2016

a few dots and they stay fairly clean and neat. I make sure to point out the dots in Aboriginal artworks are never random and sloppily placed, but generally arranged in a neat and ordered way that guides the viewer around the composition. This is a great project for a class critique because the students can evaluate the narrative elements of the artworks, as well as the craftsmanship of the painting. I ask each student to identify the symbols and how they related to the story of their painting, what they liked the most about it, and what they would change if they made another painting. Rhythm and balance are great principles to point out in the artworks and how they contribute to the overall unity and mood. n Evaluation

Matt Mazur is an elementary and middle-school art teacher at Dealey Montessori Vanguard and International Academy in Dallas, Texas. 19

Differing Realities: The Contemporary Graphic Art of Daniel Guzmán by Justin P. Sutters and Keirsten Savering-Probst

tudents’ lives are constantly bombarded with news on the local, national, and global level through various forms of media. Van Norman (2014) states that most people “tune out” the world around them because the inputs are too frequent and hard to process, especially in the educational classroom. Despite being hard to process as a whole, it is important for students to actively analyze what is happening in the world in order to not be disconnected from it. In this unit, high school students tackle these potential disconnects through their investigation of contemporary artist Daniel Guzmán (b. 1964) and subsequently create a personally meaningful work.

and anime, a lesson drawing from these influences is an effective way to garner interest while exploring a multicultural artist. The “Graphic” Arts When we presented this lesson, the goal was to explore the realm of graphic imagery to create pieces that were personally significant in relation to the world and community each student lived in. Before we jumped into the lesson, students viewed Guzmán’s following works: New York Dolls (2004), Choyas Go to artsandactivities.com and click on this button for resources related to this article.

Heladas (2009), and Reina del Narco (2009). As they looked at Guzmán’s artwork, we had some open-ended questions for them to answer: • What symbols are used and what could they mean? • Why might Guzmán use graphic imagery to convey his ideas? • Why do you think Guzmán references American rock stars in some of his works? Going through the images, one student remarked, “Why are there skulls in [Carnicería (2008)]?” and several speculated on the Spanish text included in some of his work. A number of students enrolled in Spanish courses translated portions of the text, which helped enrich the interpretations the class developed.

Exploring New Worlds Guzmán

Art-Making At this point, we came to

the “big idea” of Guzmán’s culture, his relation to it, and how he played with the

lives and works in Mexico City, and is influenced by the world around him via media and his community, which in turn impacts his art making. Although he works in multiple media, his penand-ink work delves into the past and present culture of his familial history, the current realities of living in Mexico, and America’s visual outputs. These influences spur him to venture into relatively unexplored territories in the art world by using unseemly dark, symbolic imagery. Guzmán’s work frequently looks into the ideas of good and evil and the shades inbetween. He actively appropriates his culture’s art forms and, in the case of his ink works, Mexican mural paintings. These murals closely resemble comic-book art in America. For students with an interest in comic book–styled art like DC comics, manga

Daniel Guzmán, New York Dolls, from the series, Thieves Like Us, 2004. Courtesy of the artist and kurimanzutto, Mexico City. Art © Daniel Guzmán. Daniel Guzmán, How to Make a Monster? I, 2008. Courtesy of the artist and kurimanzutto Mexico City. Art © Daniel Guzmán.

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Jessica

idea of good and evil. Students broke into smaller groups to discuss these points in relation to their own lives and experiences. Many realized that, despite their commonalities, they had many different experiences and opinions, which resulted in divergent outcomes of each student’s ideas and subsequent sketches. While some addressed comLearning Objectives High-school students will… • learn about Mexican artist Daniel Guzmán and critically analyze his representation of good and evil. • develop pen and ink techniques. • use the elements and principles of design to illustrate content.

National Art Standards

•

CREATING: Generate and conceptualize artistic ideas and work. • PRESENTING: Convey meaning through the presentation of artistic work. • RESPONDING: Perceive and analyze artistic work. • CONNECTING: Synthesize and relate knowledge and personal experiences to make art.

Materials

• •

India ink, sumi-e brushes, dip pens Black Sharpie® permanent markers (fine and bold tips) • 10" x 10" and 10" x 12" 80-lb. paper www.ar tsandactivities.com

mon topics like the pressure to attend college or looking for work after graduation, a handful touched upon the death of a close friend and personal family difficulties. With their sketches complete, students were given time to explore the medium of ink. Then, the next day, we demonstrated appropriate techniques (cross-hatching, stippling, etc.). We also asked them to be mindful of high contrast, positive and negative space, and implied texture. Students were eager to jump into their final pieces. The only suggestion we gave them prior to working was that they should start with the big spaces, then move to the smallest, detailed sections. Halfway through the art-making process, we engaged in a silent critique wherein students placed sticky notes on areas of strength and weakness in their classmates’ works with constructive suggestions for improvement. This activity provided ample time to formatively assess each student’s progress on his or her work, as well as his or her participation in the critique itself.

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Amber

After the critique session, students contemplated their peers’ suggestions to determine whether they would help make their pieces stronger, and decided what to implement. One difficulty that arose was when mistakes were made with too much of a dark value and could not be altered (ink is intended as an additive-only medium). Our solution was a white acr ylic paint pen with which to cover the areas students wanted to correct. Fortunately, it worked just fine. see

Guzmán

on page 44 21

Masksof Furand Hide by Emily Moll

aine’s winter snow and ice inspired me to consider the lifestyle of the Inuit people of Alaska. My small town of Brunswick is home to the Peary-Macmillan Arctic Museum at Bowdoin College, which provided the opportunity for my students to see examples of the actual mask-making traditions of this indigenous group. Masks among these peoples served a variety of functions. Despite some similarities in the various communities, it is difficult to generalize how they used masks. The foods, mythologies, soul concepts, even the languages are often different. Nonetheless, the concept of unity of human and animal is reflected in the masked person.

STUDENTs STARTED the project with plastic multicultural

face forms, which they draped with two or three layers of torn brown paper dipped in papier-mâché paste, which represented the native use of caribou hide. The following day, I used a sharp knife to cut out the eye and mouth openings, then students added a thin wash of acrylic paint to the masks, to suggest the color of the natural tanning process. Male and female masks were differentiated through the use of fringes of faux fur (from old coats found at our local thrift store) in varying lengths and color to represent facial hair, bangs, eyebrows and other details. Lastly, students used “tacky” glue to attach pieces of faux fur to suggest a face peeking out of the ruff of a parka. It is important to note that in some cultures, certain

masks are sacred and secret ceremonial objects, to be viewed only by the initiates of that culture. In our mask making, we made sure we did not in any way show disrespect for this more serious side of masks. Students thoroughly enjoyed the process of constructing these masks and the distinctive appearance, tradition and symbiosis of human hunters and their animal prey. n

Varying lengths and color of faux fur represented facial hair and other details.

Go to artsandactivities.com and click on this button for resources related to this article.

Learning Objectives Upper-elementary students will … • learn and understand that some masks are sacred ceremonial objects and should be respected as such. • learn and understand that art can have a relationship with cultural traditions, personal expression, and communication of beliefs. • use a variety of media, tools, techniques and processes to create a work of art.

NATIONAL ART STANDARDS

• Creating: Conceiving and developing artistic ideas and work. • Presenting: Interpreting and sharing artistic work. • Responding: Understanding and evaluating how the arts convey meaning. • Connecting: Relating artistic ideas and work with personal meaning and external context. MATERIALS

• •

Emily Moll is a visual arts specialist at Harriet Beecher Stowe Elementary School in Brunswick, Maine.

Plastic multicultural mask forms, faux fur Brown kraft paper, methyl cellulose powder (art paste), water, mixing tub • Tacky glue, scissors

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classroom use of the art print

Instructions: The monthly Art Print is meant to be removed from the center of the magazine, laminated or matted, and used as a resource in your art room. – Editor

Stormy Night, Marianne von Werefkin primary Display the Ar t Print and ask students: What do you think the ar tist was most interested in showing when she made this painting. One or more students will most cer tainly say that color interested the ar tist most, which is correct. Challenge students to count the colors. Then ask: how many dif ferent greens do you see? How many dif ferent blues? And so on. Begin a conversation about warm and cool colors. Have students offer examples of things with cool colors and things with warm colors. Record all responses on the board for later use. Point out how the artist placed warm colors beside cool colors. Next, pass out drawing paper and pencils. Using the list of cool/warm objects that students generated during the discussion, have them pick at least one from the cool list and one from the warm to incorporate in a drawing. For example, if one of the objects is an apple (warm) and another is of a blue sky, a possible drawing might be an apple orchard on a clear day. As students complete their sketches, give them a choice of crayons or colored pencils to lay in color. (Younger students may choose to work directly in color instead of beginning with a pencil sketch.)

elementary Share the Art Print with students and ask them to describe how the artist used color. Explain that she strove to create paintings that used color to convey mood and evoke emotion. Ask students to describe the mood of the painting. Display on the board the following excerpt from a letter Werefkin wrote to a fellow artist describing a Lithuanian village: “ … upon a frightening gray sky one can see a black mountain, completely black even with black houses, and all of a sudden a fire-red house appears, a violet path with snowflakes Go to artsandactivities.com and click on this button for resources related to this article. www.ar tsandactivities.com

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and on the path a black chain of people like crows.” Using the artist’s words, have each student sketch the scene she described and laying in the mentioned colors. Next, have students add any other visual information and color that they think will enhance the scene. Share all completed work and discuss how the use of color does or does not convey mood.

middle school Marianne von Werefkin was interested in the effects of electric lights. In the Art Print, yellow light sets the cafe interior aglow and shines through the window onto the sidewalk. She also made many paintings of night scenes, often with a moonlit sky, as in the Art Print. Lead an analysis of the painting, focusing on how the artist juxtaposed the artificial lighting of the cafe interior with the natural, reflected moonlight. Challenge students to create a night scene with tempera or watercolor that incorporates both natural and artificial lighting.

high school Marianne von Werefkin produced her mature work in the first quarter of the 20th centur y, a time of tremendous changes in art, all of which led to what is known as modern art. Show students the Art Print and lead a discussion about how the work is “modern.” Have students do research of the following movements that shaped her style: Cloisonnism, Fauvism, expressionism, and symbolism, as well as the artists Paul Gauguin, Andre Derain, Pierre Bonnard, and Henri Matisse. After this research is complete, have students work in pairs to look at many examples of Werefkin’s paintings. Encourage students to look for ways in which the artist infused aspects of many influences into her own, unique work. Finally, have each student create an original painting inspired by their research and the work of Marianne von Werefkin. 23

JANUARY 2016

Marianne von Werefkin (Russian; 1860–1938). Stormy Night (Sturmwind), 1915–1917. Oil on canvas; 18.7" × 24.4". Albertina Museum, Vienna, Austria. Public Domain.

A&A art print notes

Women Artists

by Colleen Carroll

ABOUT THE ARTIST 20th-century modernism. She was once referred to as “The Marianne von Werefkin (1860–1938) was born a bar- Midwife of Abstraction.” oness in tsarist Russia. Her mother was a painter; her Werefkin and Jawlensky separated in 1921. She eventufather, a militar y general. Her talent emerged early; at ally settled in the small Swiss village of Ascona. She continage 14 she began her formal studies. Trained privately ued to work, exhibit and gather artists to discuss art theory by the most preeminent painter of the day, Ilya Repin, and exchange ideas. At her death, she left a large collecshe excelled under his tutelage. As a por traitist, Were- tion of her work to the town, now housed in The Ascona fkin’s work brought her fame, becoming known as the Museum of Modern Art. “Russian Rembrandt.” While in her formative years, she was an active member ABOUT THE ARTWORK of the avant-garde, hosting salons to discuss art theor y and The Russian painter Marianne von Werefkin once said, the groundbreaking changes in art taking place in Europe. “Color bites at my heart.” Her words would be a fitting capIn 1892 she met a young soldier with aspirations of becom- tion to her painting, Stormy Night (Sturmwind). Painted ing a painter: Alexej Jawlensky (1864–1941 ), between 1915 and 1917, after Werefkin had and thus began a 29-year odyssey that is relocated to Switzerland from Germany, one of the most unusual in Western the scene depicts a night cafe under a “I want to work. art histor y. moonlit sky. It is an obsession. I am After her father’s death, WereIn the background, a lonely fkin received a pension that tower sits atop a hill, nearly swalgnawed at the heart by allowed her to travel and live lowed up by the inky, heavily comfortably. She and Jawlenpainted sky that recalls Vincent an excruciating desire to sky left Russia in 1896 and van Gogh. Three figures move settled in Munich. They forlornly toward the entrance, manipulate color … I see quickly found a community of drawn to the blazing red cafe like-minded artists in the city’s door. The figure on the right figures, with an incredible avant-garde. hunches against the elements, intensity, pass before As she had in Russia, Weremirroring the trees that lean fkin hosted salons. Once settled, from an unseen wind. my eyes.” she decided to stop painting in The interior of the establishment, Marianne von Werefkin (1860–1938) order to wholly promote and support a flat-roofed structure akin to a lean-to, Jawlensky’s career. Her self-imposed hiais ablaze with electric light. The glow of the tus lasted 10 years, during which time she wrote pendants pulsate, calling to mind van Gogh’s The extensively in her journals, including early theories on Night Cafe (1888). Like van Gogh’s iconic interior, sulfuric color theor y and abstraction. yellow fills and pours out of the space simultaneously, gushThe decade-long break ended with a revived energy ing through the windows and spilling onto the road like a and style. “In 1906, after a 10-year pause, the 46-year-old incandescent puddle. Werefkin once again took a brush in her hands, but now she The upper third of the painting is dominated by the was a completely dif ferent sort of artist. Everything changed night sky and five haunting, silhouetted trees that form in her art: from the technique—she now used only distem- an arch over the cafe, appearing more alive that the cafe per—to the style reflecting the daring and the innovative dwellers. Bare, black trees were a common element in her tendencies of symbolism, fauvism and cloisonnism, which art. “In Werefkin’s work, concrete motifs are transformed into attracted her so strongly in the French masters’ art” (www. painful and extreme expressionistic scenes because she uses tretyakovgallerymagazine.com). a simplified rhythmic composition, primitive drawing, and In addition to Jawlensky, Werefkin’s circle of artist- bright striking colors” (www.lituanus.org/2003/03_4_03. friends, such as Wassily Kandinsky, Gabriele Münter, and htm). “Striking colors” that inject the pulse of life into the Paul Klee, place her squarely in the epicenter of early melancholy of a stormy night. 26

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A T wo-Phase Project C

ulture plays an important role in all aspects of art history—defining the era, enhancing techniques, and representing a meaning all its own. African cultures exhibit unique, exquisite masks with various meanings. The bold abstract designs of African tribal masks have geometrical, as well as symmetrical patterns, which depict the social status, and/or magical or religious powers of the individual. This same aspect can be used to help students discover their inner strength or reflect on a personal reference. Patterns often form a code of information, while parallel, zigzag, cur ved, and spiral lines represent planes of the mask’s facial features. Within this project, students express and communicate an internal meaning of themselves, if so desired. The project is divided into two phases, allowing the student to render a 2-D formation into 3-D, seeing their project take on a different perspective. Before the actual project begins, students research African masks and create four thumbnail sketches of different styles, representing their own creation and

Savannah’s African mask.

www.ar tsandactivities.com

by Lori Dudley

creative design. I discuss with each student individually their thoughts behind their design and, together, select the best thumbnail for the final project. Phase I is focused on

the two-dimensional process, with symmetr y and the use of positive and negative space. Students fold an 8.5" x 11" paper in half (lengthwise), and draw only one side of the mask, centered toward the fold. Next, they trace back over it, darkening their lines with their pencils. They flip the paper over on the fold and retrace again (over the lines) on the back, causing the pencil lead to leave an impression on the other side of the fold, creating symmetr y within their mask. Students use their completed mask drawings to create the 2-D phase out of construction paper. Students need to select two different colored sheets of construction paper. The background will be a split of the two colors. Retrace only one half of the mask on the fold or edge of one of the colored sheets of construction paper. Before going any farther, have them color one half of their original drawings with colored pencils, using the colors they selected in construction paper, keeping in mind the colors need to continued on next page

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Jena’s thumbnail sketches.

Her symmetrical mask drawing.

alternate for a design pattern. This will allow them to visualize the positive and negative space areas to complete the 2-D assignment. Using craft knives, students will cut out the sections of their masks, flipping the pieces over on the construction paper to create the other side of the mask. Once all pieces are cut out and aligned correctly, they are glued down in place. Pieces should meet in the middle of the page to represent symmetr y of the mask. In Phase II, masks are created in 3-D.

The original drawings are used again to trace the masks onto cardboard. First, students need a full sheet of corrugated cardboard, slightly larger than the size of their mask, and then they trace the entire mask onto the cardboard. Students then decide which parts of their mask will be at what level/layer. I have them number their original drawings, starting with the bottom layer as number 1. Ask the students what element of their masks they want to stand out the most—this would be the highest level/layer. They then complete the order from there.

Jena’s finished 3-D African mask.

Now the students must build up each level/layer with cardboard. Depending on the layer, students need to trace out the desired shape (from their mask design) onto the cardboard as many times as necessar y to reach the preferred height, gluing the pieces together to make one thick layer, then glue it to the main cut-out of the mask. Students will

Crysta’s 3-D African mask.

Phase I Materials

• • • • •

Learning Objectives High-school students will ... • recognize characteristics of African masks. • identify positive and negative space, and color as elements of art. • create a design that exhibits symmetry, balance and contrast, with positive and negative space. • create a 2-D work of art. • design and construct an original 3-D papier-mâché mask in an African style. • recognize the mask as an art form used by cultures.

Her colored drawing, as Jena planned to paint it.

Crysta’s 2-D African mask.

VocabularY Composition Form Shape Symmetrical

Texture Three-dimensional Two-dimensional

Access to Internet for research 8.5" x 11" copy paper Graphite and colored pencils Construction paper in variety of colors Glue sticks, scissors, craft knives

Phase II Materials

• •

• • • • •

Corrugated cardboard Six-inch-wide plaster cloth (cotton gauze impregnated with plaster of Paris) Scissors, craft knives Masking tape, white glue Acrylic paint, paintbrushes Mod Podge® 150-grit sandpaper

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Tyler’s cardboard mask construction, showing the various levels before the papier-mâché was applied.

Tyler’s 3-D African mask.

Tyler planned his color design on paper to guide him when he painted his 3-D mask.

continue the process until all layers/ levels are completed. The next step is to put sides on the mask so it sets up off the table, using masking tape to attach sides to mask base. Now it’s time to star t covering the mask with papier-mâché. I prefer using the plaster cloth modeling material available through most ar ts and crafts catalogs. Students will cut www.ar tsandactivities.com

the plaster-impregnated gauze into small strips, dipping in water, removing excess water, and place on mask, smoothing out, filling in the empty spaces within the gauze while it’s still wet. I require the entire mask to have three layers of papier-mâché, drying completely between each layer. Once all layers are completed use, I recommend

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using 150-grit sandpaper to smooth out any rough edges on the mask. Students are now ready to paint. I require them to color the backs of their original drawings how they plan to paint their masks to use as a guide. With acrylic paint, students paint their masks, making sure to stay within the design areas, applying as many coats as necessary to completely cover the white of the papier-mâché. The final step is to seal the masks with glossy Mod Podge®. I suggest three thin coats, allowing it to dr y completely between each application. All that’s left is to display your students’ art work, putting their 2-D projects beside their 3-D masks. n Lori Dudley teaches art at Franklin High School in Franklin, Texas. 29

media reviews

PAINTING PORTRAITS AND FIGURES IN WATERCOLOR, by Mary Whyte. Watson-Guptill Publications, $24.99. The striking cover on this trade paperback catches the attention, but it’s what’s inside that keeps the reader immersed. Author Mar y Whyte showcases figures in nature, people pictured indoors or wearing hats, or holding objects, among other circumstances. There might be a slight emphasis on figures over faces, and the reader won’t find many details about how to render facial features, hair, or apparel. There is an excellent sidebar on “Common Mistakes When Painting the Figure.” The author has included “Suggested Exercises” in each chapter. Many of these would make good assignments for an advanced high school painting class. One example: Make six thumbnail sketches of family member, each with a different background. While some very basic material is presented, the book might be best for high school students and older, intermediate artists who want to paint realistic or semi-realistic watercolors. While the hand shots (photos demonstrating techniques) are small, thankfully many of the paintings are reproduced larger. Don’t miss the fourpage demo on Luna. Another exceptional painting is titled Red Umbrella. Early on, Whyte helps the reader choose suitable tools and materials, but she begins with philosophy, outlook, and approach. She inserts the masterworks of historically important artists, always a useful tool in art education. Value, composition, color and light make up the subject matter in later chapters. One section is entirely allocated to backgrounds. Finally, the last chapter—all about life as an ar tist—is best suited for

AUDIOVISUAL BOOK/PRINT Jerome J. Hausman • Paula Guhin

those who might want to become professional painters. Whyte is a nationally recognized artist, illustrator and educator, with a website at www.marywhyte.com.–P.G. THE SPECIAL ARTIST’S HANDBOOK, by Susan Rodriguez. Crystal Productions, $34.95. Susan Rodriguez knows her stuff and writes about it admirably. In this revised addition (in color) she includes activities from nearly ever y visual arts genus. In the first section there is a description of most special needs: autism, sensor y impairment, learning disability, physical challenge, emotional disturbance, and Asperger’s. And of course, the author takes into account the gifted. Other chapters discuss the art classroom, adaptive aids, and “Art Heroes,” notable artists throughout histor y who were or are challenged and exceptional. (Did you know that Robert Rauschenberg was dyslexic?) A suggested activity accompanies each noteworthy artist’s pages. The Special Art Museum portion shows a baker’s dozen of student works inspired by visits to art and science museums. In the Art Activities segment, a wide spectrum of adaptations is provided … ever y visual arts educator welcomes inclusionar y devices and excellent ideas when working with enabled or special--needs children. If a few of the art examples in a given project seem too “cookie cutter,” many other illustrations, for other activities, are unique and original. The concealed spiral wire binding makes for easy photocopying of pages. This handbook would be of great use to a broad audience of college students, therapists, parents of special needs children, teachers of the exceptional, and K–12 art educators.–P.G.

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shop talk

NASCO ARTS & CRAFTS Create a cultural gathering in your classroom with this unique mini-mask kit, Nasco’s Multicultural Mini-Mask Kit is a great way to explore this exciting art form. The kit has all the materials necessary (except paint and glue) for sculpting and assembling 30 minimasks. Included are 2 lbs. of Crayola® Model Magic®, 30 wooden spoons, 30 wooden bases, 36 modeling tools, feathers, raffia, embroidery floss, jute, and an instruction sheet.

TRIARCO ARTS & CRAFTS Roylco®’s Multicultural Face Forms are designed for papier-maché and clay. The easy-release molds are made from see-through plastic. Five ethnically diverse characters are available. Face forms measure up to 5.5" × 7". Make a mask or design a self-portrait. They come in packages of 10.

BLICK ART MATERIALS Multicultural Studio Art Projects for Secondary Students is a resource that provides art teachers in grades 7–12 a collection of 44 ready-to-use lesson plans related to eight different world cultures in the popular arts of painting, jewelr y, ceramics, costume, architecture, metal work, and collage.

www.etriarco.com

www.dickblick.com

www.enasco.com

CRYSTAL PRODUCTIONS This 25-min. DVD, for grades K–8, explores Dream Pictures and X-ray art of the Aboriginal culture. It explains the importance of dots in the paintings. Art educator Peggy Flores shows you how to create three Dream Paintings and three X-ray paintings using different media and simple supplies, while stressing the importance of the elements and principles of design.

email:triedandtrue @artsandactivities.com

www.crystalproductions.com www.ar tsandactivities.com

Do you have art-teaching tips to share? Send them to “Tried & True Tips for Art Teachers”

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Buyer’s Guide 2016

ARTS & ACTIVITIES’ comprehensive directory of sources of art and craft supplies and equipment, schools, publications and services ... a ready reference for teachers, administrators and purchasing agents. Telephone numbers and websites shown with listings provide prompt access for inquiries, orders and special requests. Be sure to say you found them in Arts & Activities magazine!

A Aardvark Clay & Supplies 714-541-4157 www.aardvarkclay.com CE SP Academy of Art University 800-544-2787 www.academyart.edu SH Activa Products, Inc. 877-970-0832 www.activaproducts.com CE HC SH SP Aftosa 800-231-0397 www.aftosa.com CE DE Alfred University 607-871-2412 www.alfred.edu SH AMACO/Brent 800-374-1600 www.amaco.com BR CE CT FN HC SA SH SP CODES AB Airbrush* AD Adhesives/Fixatives AV Audio Visual/DVDs/Videos BR Brushes CA Calligraphy* CE Ceramics* CO Computers*/Software CT Cutting Instruments CY Crayons DE Display/Exhibit Fixtures DG Drawing* DR Drafting* DS Dispensers/Containers DY Dye/Batik* EP Easels/Palettes FD Fundraising* FI Fabrics/Fibers FN Furniture/Equipment FR Frames/Mats* GR Graphic* HC Hobby/Craft* JM Jewelry/Metal* LO Looms/Weaving* LT Leathercraft* PB Publishers/Art Reproductions PC Paper/Canvas PH Photography* PR Printmaking* PS Pastels PT Paints/Pigments RS Rubber Stamps* SA Safety Equipment* SG Stained Glass* SH Schools/Workshops SP Sculpture* *Equipment and supplies

www.ar tsandactivities.com

American Academy of Equine Art 859-281-6031 www.aaea.net SH

Arts Attack 888-760-ARTS www.artsattack.com AV

Baltimore Clayworks 410-578-1919 www.baltimoreclayworks.org CE SH

American Ceramic Supply Co. 866-535-2651 www.americanceramics.com AB AD BR CE CT HC JM PT RS SA SG SH SP

Art Shop Therapy 612-234-5013 www.artshoptherapy.com AV PB

Bamboo Tools 604-723-2900 www.bambootools.com BR CE CT

Artsonia 800-869-9974 www.artsonia.com AV DE SH

Belvedere Ceramic Arts 970-264-1049 www.belvedereceramicarts.com SH

A.R.T. Studio Clay Co. 800-323-0212 www.artclay.com AB CE SP

BigCeramicStore.com 888-513-5303 www.bigceramicstore.com AB BR CE HC JM PR RS SP

Art Supplies Wholesale 800-462-2420 www.allartsupplies.com BR CY DG EP FR PC PR PS PT

Birdcage Books 650-424-1701 www.birdcagebooks.com PB

Art Teacher on the Net 858-453-2278 www.artmuseums.com DE DG HC PB PH PS PT SH

Bisque Imports 888-568-5991 www.bisqueimports.com CE SH SP

Art to Remember 800-895-8777 www.arttoremember.com FD HC

Blick Art Materials 800-447-8192 www.dickblick.com AB AD AV BR CA CE CO CT CY DE DG DR DS DY EP FD FI FN FR GR HC JM LO LT PC PH PR PS PT RS SA SG SP

Amon Carter Museum 817-989-5067 www.cartermuseum.org DE Ampersand Art Supply 800-822-1939 www.ampersandart.com CE DG FI FN HC JM LO PH PR SG SH SP Armada Art, Inc. 800-435-0601 www.armadaart.com BR CT HC Armory Art Center 561-832-1776 www.armoryart.org CE DG JM SP Arnold Grummer’s Paper Making 800-453-1485 www.arnoldgrummer.com HC RS Arrowmont Sch. of Arts/Crafts 865-436-5860 www.arrowmont.org SH Art Boards 800-546-7985 www.art-boards.com EP FN PR Art Image Publications 800-361-2598 www.artimagepublications.com PB Art Institute of Southern Cal. 949-376-6000 www.artinstitutes.edu SH Artisan 800-331-6375 www.artisan-santafe.com BR EP FN FR HC PC PS PT SH Art New England Workshops 617-250-1040 www.artnewengland.com SH The Art of Education www.theartofed.com SH Artograph, Inc. 888-975-9555 www.artograph.com AV DG DR FD FN HC JM PH Artrage www.artrage.com GR

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Art Trek 415-868-9558 www.arttreks.com SH ArtWare By You 973-509-7736 www.artwarebyyou.com FD Aves Studio 800-261-AVES www.avesstudio.com CE HC SP A.W.T. World Trade, Inc. 773-777-7100 www.awt-gpi.com FN Axner Pottery Supply 800-843-7057 www.axner.com AB AV CE FD FN HC JM PT SH SP

B Badge-A-Minit Ltd. 800-223-4103 www.badgeaminit.com HC Bags Unlimited 800-767-2247 www.bagsunlimited.com AV FR PH Bailey Ceramic Supply 800-431-6067 www.baileypottery.com AB AV BR CE FN HC SA SP

Bluebird Mfg. Inc. 970-484-3243 CE FN HC SP Boston Univ. School of Visual Arts 866-347-6876 www.arteducation.bu.edu SH Bracker’s Good Earth Clays, Inc. 888-822-1982 www.brackers.com CE DS HC Brent Pottery Equipment 800-374-1600 www.brentwheels.com CE FN Bright Ring Publishing Inc. 800-480-4278 www.brightring.com PB

C Canson Inc. 800-628-9283 www.canson.com PC Capital Ceramics 801-466-6471 AB BR CE HC PT SG Carbondale Clay Center 970-963-2529 www.carbondaleclay.org CE SH 33

Carolina Clay Connection 704-376-7221 www.carolinaclay.com CE HC SH

Clay Stamps from Socwell LLC 608-295-1415 www.4clay.com CE JM RS

Crizmac Art & Cultural Ed. Matls. 520-323-8555 www.crizmac.com FI PB SH

Cascade School Supplies, Inc. 800-628-5078 www.cascadeschoolsupplies.com BR CT DG EP FN FR HC PC PS PT

Clay Times 800-356-2529 www.claytimes.com PB

Crystal Productions 800-255-8629 www.crystalproductions.com AV DE PB

Ceramic Supply Chicago 847-425-1900 www.ceramicsupplychicago.com BR CE

Clear Bags 916-933-4700 www.clearbags.com DS

Chavant, Inc. 732-751-0003 www.chavant.com SP

ColArt Americas, Inc. 800-445-4278 www.colart.com AD BR CA CY DG EP HC PC PS PT

Chesapeake Ceramics LLC 800-962-9655 www.ceramicschoolsupply.com CE Chicago Canvas & Supply 773-478-5700 www.chicagocanvas.com DY FI Chroma Inc. 800-257-8278 www.chromaonline.com PT Clay Mat 559-360-9770 www.claymat.com CE Clay Planet 800-443-CLAY www.clay-planet.com CE FN PT SP

CODES AB Airbrush* AD Adhesives/Fixatives AV Audio Visual/DVDs/Videos BR Brushes CA Calligraphy* CE Ceramics* CO Computers*/Software CT Cutting Instruments CY Crayons DE Display/Exhibit Fixtures DG Drawing* DR Drafting* DS Dispensers/Containers DY Dye/Batik* EP Easels/Palettes FD Fundraising* FI Fabrics/Fibers FN Furniture/Equipment FR Frames/Mats* GR Graphic* HC Hobby/Craft* JM Jewelry/Metal* LO Looms/Weaving* LT Leathercraft* PB Publishers/Art Reproductions PC Paper/Canvas PH Photography* PR Printmaking* PS Pastels PT Paints/Pigments RS Rubber Stamps* SA Safety Equipment* SG Stained Glass* SH Schools/Workshops SP Sculpture* *Equipment and supplies

The Color Wheel Co. 541-929-7526 www.colorwheelco.com AV HC PT Columbus College of Art & Design www.ccad.edu SH The Compleat Sculptor, Inc. 800-972-8578 www.sculpt.com AD CE DY HC JM SH SP Concordia Univ. 888-628-9472 www.cuw.edu SH Conrad Machine Co. 231-893-7455 www.conradmachine.com FN GR PR Continental Clay Co. 800-432-CLAY www.continentalclay.com AB AD BR CE DS FN HC JM PC PT RS SA SH SP Copic Markers www.copicmarker.com AB DG DR Corcoran Coll. Art & Design 202-639-1783 www.corcoran.org SH Core Learning Inc. 800-399-0695 www.core-learning.com CO GR PB Cornell Studio 937-454-0357 www.cornellstudiosupply.com CE Coyote Creek Productions 760-731-3184 www.coycreek.com AV Crayola 800-272-9652 www.crayola.com CY DG HC PT SP Createx Colors 800-243-2712 www.createxcolors.com AB HC PT Creative Paperclay Co., Inc. 805-484-6648 www.paperclay.com CE SP Cress Mfg. Co. 800-423-4584 www.cressmfg.com CE SP

Excel, Div. of AMACO 800-374-1600 FN

F Faber-Castell USA 800-642-2288 www.faber-castellusa.com CY DG HC PS

D Daler-Rowney, USA 609-655-5252 www.daler-rowney.com BR DG EP FN GR HC PC PR PS PT SH D’Ambruoso Studios 203-758-9660 www.dambruosostudios.com SH

Fasteners4schools.com 800-876-9922 www.fasteners4schools.com AD CT HC Faust Ink, Inc. 908-276-6555 www.faustink.com PR PT

Debcor, Inc. 708-333-2191 CE FN

Fiskars 866-348-5661 www.fiskars.com CT HC

Delphi 888-281-5780 www.delphiglass.com/teach AD HC JM SG SH

Florida Clay Art Co. 407-330-1116 www.flclay.com AB CE HC RS SA SH SP

Discount School Supply 831-333-2549 www.discountschoolsupply.com AD BR CY DG EP FN HC PC PT SH

Flourish Company 800-296-0049 www.meshpanels.com DE FI

Dixon Ticonderoga Co./Prang www.prang.com CY DG PS PT

FM Brush Co. 718-821-5939 www.fmbrush.com BR

Dry Creek Pottery 817-578-1563 www.drycreekpottery.com CE HC SH

The Folding Art Horse 909-596-2180 www.thefoldingarthorse.com FN

Frame Fit Co. 800-523-3693 www.framefit.com FR

Earth Guild 800-327-8448 www.earthguild.com AD BR CA CT DY FI HC LO LT PT SA SP

F & W North Light Book Club 800-448-0915 www.fwmedia.com PB

Ed Hoy’s International 800-323-5668 www.edhoy.com AD BR CE CT DE HC JM PT SA SG SH SP

Geil Kilns 714-847-6135 www.kilns.com CE SH

Elmer’s Products, Inc. 888-435-6377 www.elmers.com AD HC

Gelli Arts 800-580-4198 www.gelliarts.com HC PR

Embrace Art 253-225-1105 www.embraceart.org AV DG FD HC PB SH

General Pencil Co. 800-537-0734 www.generalpencil.com CY DG DR HC PS

Euclid’s Elements 800-296-5456 www.euclids.com CE FN

Getting To Know, Inc. 312-642-5526 www.gettingtoknow.com AV PB

Evans Ceramic Supply 316-262-2551 www.evansceramics.com AD BR CE DS HC PT SH SP

Getty Trust Publications 800-223-3431 www.getty.edu PB SH

Evenheat Kiln 989-856-2281 www.evenheat-kiln.com CE SP

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Giffin Tec Inc. 800-445-2997 www.giffingrip.com CE Glue Dots Int’l (GDI) 888-688-7131 www.gluedots.com AD HC

iLoveToCreate, Duncan Ent. Co. 800-438-6226 www.ilovetocreate.com AD BR CE DY HC JM PC PT SH

Gold’s Artworks 800-356-2306 www.goldsartworks.20m.com PC

Incredible Art Department www.incredibleart.org PB

Golden Artist Colors 800-959-6543 www.goldenpaints.com CY PT Grafix 800-447-2349 www.grafixarts.com AD DG DR GR HC Graphic Chemical & Ink 800-465-7382 www.graphicchemical.com PR Graphic Display Systems 800-848-3020 www.graphicdisplaysystems.com DE Graphic Products Corp. 847-836-9600 www.gpcpapers.com PC Graphik Dimensions Ltd. 800-221-0262 www.pictureframes.com FR Great Lakes Clay 800-258-8796 www.greatclay.com AB AD AV BR CE FN HC SA SH SP Greenwich House Pottery 212-242-4106 www.greenwichhousepottery.org CE DE HC SH SP Groovy Tools LLC 502-859-5070 www.groovy-tools.com CE CT HC SH SP

Inovart Inc. 800-292-7622 www.inovart.net CA CT DG EP FR HC LO PR RS Interlochen Ctr for Arts 800-681-5912 www.interlochen.org SH

J Jack Richeson & Co, Inc. 800-233-2404 www.richesonart.com AV BR DG DS EP FN HC PC PR PS PT SH SP Jacquard Products 800-442-0455 www.jacquardproducts.com AB AD BR DG DS DY FI HC JM LT PH PR PT RS SG SH SP Jiffy Mixer 800-560-2903 www.jiffymixer.com CE PT

Krueger Pottery, Inc. 800-358-0180 www.kruegerpottery.com AD BR CE FN SH

Matcutter.com 800-358-6540 www.matcutter.com FR

Krylon Products Group 216-515-7693 www.krylon.com HC PT

Mayco Colors 614-876-1171 www.maycocolors.com BR CE HC PT SH

L Laguna College of Art & Design 949-376-6000 www.lcad.edu SH Laguna Clay Co. 800-452-4862 www.lagunaclay.com AB AD AV BR CE FN HC PT SA SP Leaning Post Productions 845-496-4709 www.leaningpost.com AV CO PB Leslie Ceramics Supply Co. 510-524-7363 www.leslieceramics.com CE Lightfoot Ltd., Inc. 951-693-5165 www.lightfootltd.com AV CO DG EP FN PC SA SH Liqui-Mark Corp. 800-486-9005 www.liquimark.com DG HC Liquitex Artist Materials 888-422-7954 www.liquitex.com AB AD GR HC PT SP

J&J Display 800-347-2008 www.jjdisplay.com AD DE Jones Publishing, Inc. 800-331-0038 www.jonespublishing.com CE HC PB JourneyEd 800-874-9001 www.journeyed.com CO DR GR

L & L Kiln Mfg., Inc. 800-750-8350 www.hotkilns.com CE HC JM SG Loew-Cornell, Inc. 201-836-7070 www.loew-cornell.com BR CE PT

Handy Art 800-236-6873 www.handyart.com AD HC PR PT

Kids Can Press 800-265-0885 www.kidscanpress.com DG PB PR PT SP

Madison Art Shop 732-961-2211 www.madisonartshop.com AB DG DR EP FR HC PC PR PT SP

Harrisville Designs/Friendly Loom 800-338-9415 www.harrisville.com FI HC LO

KidsKards 888-543-7527 www.kidskards.com FD

Makit Products Inc. 972-709-1579 www.makit.com FD HC PC PH

Klopfenstein Art Equipment 866-899-1899 www.klopfensteinart.com FN

Martin/F. Weber 215-677-5600 www.weberart.com AV BR DG EP PB PC PS PT SH

KopyKake Ent. 800-999-5253 www.kopykake.com AB GR

Maryland Inst. College of Art 410-225-2300 www.mica.edu SH

KQED Public Television 415-553-2298 www.kqed.org SH

Marywood University 570-348-6207 www.marywood.edu SH

Hash Inc. 360-750-0042 www.hash.com CO DG Haystack Mountain School of Crafts 207-348-2306 www.haystack-mtn.org SH Hemlocks Studio 828-885-2831 www.hemlocks.com SH www.ar tsandactivities.com

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McClain’s 800-832-4264 www.imcclains.com BR PC PR PT Midlantic Clay 856-933-0022 www.midlanticclay.com CE Midwest Products www.midwestproducts.com HC Minn. Coll. Art/Des. Rm M105 612-874-3765 www.mcad.edu SH Minnesota Clay USA 952-884-9101 www.mnclay.com AB BR CE SA SP MKM Pottery Tools 920-830-6860 www.mkmpotterytools.com CY FN HC SP Modern Art Museum of Ft. Worth 817-738-9215 www.themodern.org SH Molly Hawkins’ House 888-446-6559 www.mollyhawkins.com AD BR CA CT CY DG DR DS EP GR HC JM PC PR PS PT SP Mountain Color 715-312-0603 www.mountaincolor.com FD Muddy Elbows 316-281-9132 www.soldnerequipment.com CE SP

Nantucket Island School 508-228-9248 www.nisda.org SH Nasco Arts & Crafts 800-558-9595 www.enasco.com AB AD CE DE DG DS EP FN PC PH PR PT SA SP National Artcraft Co. 888-937-2723 www.nationalartcraft.com AB AD BR CE DE DG DS EP HC PC PS PT National Art Education Assoc. 703-860-8000 www.arteducators.org PB New Century Arts 206-284-7805 www.paperclayart.com CE SP

New Mexico Clay 800-781-2529 www.nmclay.com BR CE JM SP

Original Works 800-421-0020 www.originalworks.com FD

Popular Ceramics 715-445-5000 www.jonespublishing.com CE

New York University 800-771-4698 www.education.nyu.edu SH

Orton Ceramic Foundation 614-895-2663 www.ortonceramic.com CE FN PB SA SH

Pottery Making Illustrated 614-794-5890 www.potterymaking.org CE PB

North Star Equipment 800-231-7896 www.northstarequipment.com CE FN

Otis Coll. Art/Des. Cont. Ed/ Summer 310-665-6850 www.otis.edu SH

O Ohio Ceramic Supply, Inc. 800-899-4627 www.ohioceramic.com Ohio State University, Art Dept. 614-292-7183 www.art.osu.edu SH Olsen Kiln Kits 760-349-3291 www.olsenkilns.com CE SP Olympic Kilns 800-241-4400 www.greatkilns.com CE HC JM SP Oregon College of Art & Craft 503-297-5544 www.ocac.edu PR SH The Original Hi Roller 828-308-2585 www.originalhiroller.com CE CODES AB Airbrush* AD Adhesives/Fixatives AV Audio Visual/DVDs/Videos BR Brushes CA Calligraphy* CE Ceramics* CO Computers*/Software CT Cutting Instruments CY Crayons DE Display/Exhibit Fixtures DG Drawing* DR Drafting* DS Dispensers/Containers DY Dye/Batik* EP Easels/Palettes FD Fundraising* FI Fabrics/Fibers FN Furniture/Equipment FR Frames/Mats* GR Graphic* HC Hobby/Craft* JM Jewelry/Metal* LO Looms/Weaving* LT Leathercraft* PB Publishers/Art Reproductions PC Paper/Canvas PH Photography* PR Printmaking* PS Pastels PT Paints/Pigments RS Rubber Stamps* SA Safety Equipment* SG Stained Glass* SH Schools/Workshops SP Sculpture* *Equipment and supplies

P Pacon Corporation 800-333-2545 www.pacon.com DG FR PC Paragon Industries, L.P. 972-288-7557 www.paragonweb.com CE SG PCF Studios, Inc. 585-229-2976 www.pcfstudios.com AV CE SH SP PCS Books www.pcsbooks.com.au PB Peninsula Art School 920-868-3455 www.peninsulaschoolofart.org SH The Pennsylvania State University 814-865-6570 www.worldcampus.psu.edu SH Pentel of America 800-262-1127 www.pentel.com DG DR Perfectone Mold Co. 800-828-2634 www.perfectonemolds.com HC SP Peter Pugger Mfg. 707-463-1333 www.peterpugger.com CE FN Peters Valley Craft Center 973-948-5200 www.petersvalley.org SH Phelps Publishing 216-752-4938 www.phelpspublishing.com DG HC PB Picasso People 716-684-0244 www.picassopeople.com SH PMC Connection 866-762-2529 www.pmcconnection.com BR HC JM

S Sakura of America 800-776-6257 www.sakuraofamerica.com DG DR GR PS SH

Sanford Corp. 800-323-0749 www.newellrubbermaid.com BR CA CY DG DR PS PT Saral Paper Corp. 212-247-0460 www.saralpaper.com CA CE DG DR GR HC PC SG

Quarry Books www.quarrybooks.com PB

Sargent Art Inc. 800-424-3596 www.sargentart.com AB AD BR CE CY DG DS DY EP HC JM PC PS PT SG SP

Quarto Publishing www.quartoknows.com PB Quinlan Visual Arts Center 770-536-2575 www.quinlanartscenter.org DE SH

Savannah College of Art & Design 912-525-5000 www.scad.edu SH

School of the Art Inst. of Chicago 312-899-5100 www.artic.edu SH

Renaissance Graphic Arts, Inc. 888-833-3398 www.printmaking-materials.com PC PR PT

Sax/School Specialty 888-388-3224 www.saxarts.com AB AD AV BR CA CE CT CY DE DG DR DS DY EP FD FI FN FR HC JM LO LT PC PH PR PS PT RS SG SH SP

Rhode Island School of Design 401-454-6201 www.risd.edu SH

Scottsdale Artists’ School 800-333-5707 www.scottsdaleartschool.org SH

Ringling College/Art & Design 941-955-8866 www.ringling.edu SH

Scratch-Art Co., Inc. 203-762-4500 www.melissaanddoug.com CY DG HC PC PR

Rockland Colloid 503-655-4152 www.rockaloid.com GR HC PH PR

Segmation 858-206-3289 www.segmation.com DG HC SH

Rock Paint Distr./Handy Art 800-236-6873 www.handyart.com AD BR DS PR PT

Shain Solutions 877-348-9663 www.shainsolutions.com FN

Rocky Mtn. College of Art & Design 303-753-6046 www.rmcad.edu SH Royal & Langnickel Brush Mfg. 219-660-4170 www.royalbrush.com BR CE EP HC PS PT Royalwood Ltd. 800-526-1630 www.royalwoodltd.com FI HC LO

Sheffield Pottery 888-774-2529 www.sheffield-pottery.com BR CE SA Shimpo Ceramics 800-237-7079 www.shimpoceramics.com CE HC SH Sierra Nevada College 775-831-7799 www.sierranevada.edu/workshops SH

Roylco 800-362-8656 www.roylco.com HC Runyan Pottery Supply, Inc. 810-687-4500 www.runyanpotterysupply.com AB BR CE CT FN HC JM RS SA SH SP

Silver Brush, Ltd 609-443-4900 www.silverbrush.com BR Silvergraphics Studio 866-366-5700 www.silvergraphics.com FD GR Skidmore College Summer 6 518-580-5052 www.skidmore.edu SH

Polyform Products 847-427-0020 www.sculpey.com CE HC SP j a n u a r y 2 0 1 6 • 83 y e a r s

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Skutt Ceramic Products 503-774-6000 www.skutt.com CE FN JM SA SG SP

Teachers College Columbia Univ. 212-278-3270 www.tc.columbia.edu SH

Smith-Sharpe Fire Brick Supply 612-331-1345 www.kilnshelf.com CE

Teachers, Art Center College 626-396-2319 www.artcenter.edu/teachers SH

Vent-A-Kiln Corp. 716-876-2023 www.ventakiln.com CE SA

Smooth-On, Inc. 800-762-0744 www.smooth-on.com CE HC SP

Testors Corp. www.testors.com AB BR PT

Video Learning Library 541-479-7140 www.art-video.com AV

Socwell LLC www.4clay.com CE

Texas Pottery 800-639-5456 www.texaspottery.com BR CE HC SH SP

Spectrum Glazes, Inc. 800-970-1970 www.spectrumglazes.com CE PT

Traveling Exhibits 248-340-7210 www.teachersdiscovery.com DE

Speedball Art Products 800-898-7224 www.speedballart.com CA DG PC PR PT RS

Triarco Arts & Crafts, Inc. 800-328-3360 www.etriarco.com AB AD AV BR CA CE CT CY DE DG DS DY EP FN FR GR HC JM LO LT PC PH PR PS PT SG SP

Split Rock Arts Program 612-625-8100 www.cce.umn.edu SH Square 1 Art 888-332-3294 www.square1art.com FD SRA/McGraw-Hill 972-224-1111 www.mheonline.com PB S&S Worldwide 800-243-9232 www.ssww.com CE CY EP HC PC PT Staedtler-Mars, Limited 800-776-5544 www.staedtler.ca DG DR GR HC PS Standard Ceramic Supply 412-276-6333 www.standardceramic.com CE Strathmore Artist Papers 800-353-0375 www.strathmoreartist.com PC Studio Sales Pottery 585-226-3030 www.studiosalespottery.com CE HC SUNY New Paltz www.newpaltz.edu SH

T Tandy Leather Factory 817-872-3200 www.tandyleatherfactory.com HC LT Taos Art School 575-758-0350 www.taosartschool.org SH Tara Materials 800-241-8129 www.taramaterials.com BR FR PC PH PT www.ar tsandactivities.com

Trinity Ceramic Supply 214-631-0540 www.trinityceramic.com CE Truro Center for the Arts 508-349-7511 www.castlehill.org SH TTU Appalachian Center for Craft 931-372-3051 www.tntech.edu/craftcenter SH Tucker’s Pottery Supplies 800-304-6185 www.tuckerspottery.com BR CE CT FN SP Tulsa Stained Glass 918-664-8604 www.tulsastainedglass.com SG SH

U Union Rubber Co. 800-334-8219 www.best-testproducts.com AD United Art and Education 800-322-3247 www.unitednow.com AB AD BR CA CE CT CY DG DR DS EP FI FN HC JM LO PC PR PS PT SG SP University of the Arts 215-717-6000 www.uarts.edu SH U.S. Artquest, Inc. 517-522-6225 www.usartquest.com AD BR HC RS

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W Wacom Technology Corp. 360-896-9833 www.wacom.com CO DG HC PH PT The Wallace Foundation www.wallacefoundation.org SH Watson Guptill Publications 800-278-8477 www.watsonguptill.com PB Welsh Products, Inc. 800-745-3255 www.welshproducts.com CO FD GR PR Western Michigan University 269-387-2436 www.wmich.edu/art SH Whittemore-Durgin Glass 800-262-1790 www.whittemoredurgin.com HC SG Wikkistix 800-869-4554 www.wikkistix.com HC SP Winsor & Newton 800-445-4278 www.winsornewton.com BR CA CY EP HC PC PS PT Witzend Workshop, LLC 203-393-2397 www.twisteezwire.com CY DY FI HC JM SP Women’s Studio Workshop 845-658-9133 www.wsworkshop.org FI SH Woodstock School of Art 845-679-2388 www.woodstockschoolofart.org SH Wyland Foundation www.wylandfoundation.org DE

Utrecht Mfg. Corp. 800-223-9132 www.utrecht.com AD BR CT DG DR DY EP FN FR GR PC PR PS PT SP

Visual Manna 573-729-2100 www.visualmanna.com DG GR PB PT

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Product Categories * Denotes “equipment and supplies”

(AB) AIRBRUSH American Ceramic Supply Co. A.R.T. Studio Clay Co. Axner Pottery Supply Bailey Ceramic Supply BigCeramicStore.com Blick Art Materials Capital Ceramics Continental Clay Co. Copic Markers Createx Colors Florida Clay Art Co. Great Lakes Clay Jacquard Products KopyKake Ent. Laguna Clay Co. Liquitex Artist Materials Madison Art Shop Minnesota Clay USA Nasco Arts & Crafts National Artcraft Co. Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education (AD) ADHESIVE/FIXATIVES American Ceramic Supply Co. Blick Art Materials ColArt Americas, Inc. The Compleat Sculptor, Inc. Continental Clay Co. Delphi Discount School Supply Earth Guild Ed Hoy’s International Elmer’s Products, Inc. Evans Ceramic Supply Fasteners4schools.com Glue Dots Int’l (GDI) Grafix Great Lakes Clay Handy Art iLoveToCreate, Duncan Ent. Co. Jacquard Products J&J Display Krueger Pottery, Inc. Laguna Clay Co. Liquitex Artist Materials Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Union Rubber Co. United Art and Education U.S. Artquest, Inc. Utrecht Mfg. Corp. (AV) AUDIO/VISUAL Artograph, Inc. Arts Attack Art Shop Therapy Artsonia Axner Pottery Supply Bags Unlimited Bailey Ceramic Supply Blick Art Materials The Color Wheel Co. Coyote Creek Productions Crystal Productions Embrace Art Getting To Know, Inc. Great Lakes Clay Jack Richeson & Co, Inc. Laguna Clay Co. 37

Leaning Post Productions Lightfoot Ltd, Inc Martin/F. Weber PCF Studios, Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Video Learning Library (BR) BRUSHES AMACO/Brent American Ceramic Supply Co. Armada Art, Inc. Artisan Art Supplies Wholesale Bailey Ceramic Supply Bamboo Tools BigCeramicStore.com Blick Art Materials Capital Ceramics Cascade School Supplies, Inc. Ceramic Supply Chicago ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Discount School Supply Earth Guild Ed Hoy’s International Evans Ceramic Supply FM Brush Co. Great Lakes Clay iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard Products Krueger Pottery, Inc. Laguna Clay Co. Loew-Cornell, Inc. Martin/F. Weber Mayco Colors McClain’s Minnesota Clay USA Molly Hawkins’ House National Artcraft Co. New Mexico Clay PMC Connection Rock Paint Distr./Handy Art Royal & Langnickel Brush Mfg. Runyan Pottery Supply, Inc. Sanford Corp. Sargent Art Inc. Sax/School Specialty Sheffield Pottery Silver Brush, Ltd. Tara Materials Testors Corp. Texas Pottery Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education U.S. Artquest, Inc. Utrecht Mfg. Corp. Winsor & Newton (CA) CALLIGRAPHY Blick Art Materials ColArt Americas, Inc. Earth Guild Inovart Inc. Molly Hawkins’ House Sanford Corp. Saral Paper Corp. Sax/School Specialty Speedball Art Products Triarco Arts & Crafts, Inc. United Art and Education Winsor & Newton (CE) CERAMICS Aardvark Clay & Supplies Activa Products, Inc. Aftosa AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armory Art Center A.R.T. Studio Clay Co. Aves Studio Axner Pottery Supply 38

Bailey Ceramic Supply Baltimore Clayworks Bamboo Tools BigCeramicStore.com Bisque Imports Blick Art Materials Bluebird Mfg. Inc. Bracker’s Good Earth Clays, Inc. Brent Pottery Equipment Capital Ceramics Carbondale Clay Center Carolina Clay Connection Ceramic Supply Chicago Chesapeake Ceramics LLC Clay Mat Clay Planet Clay Stamps from Socwell LLC The Compleat Sculptor, Inc. Continental Clay Co. Cornell Studio Creative Paperclay Co., Inc. Cress Mfg. Co. Debcor, Inc. Dry Creek Pottery Ed Hoy’s International Euclid’s Elements Evans Ceramic Supply Evenheat Kiln Florida Clay Art Co. Geil Kilns Giffin Tec Inc. Great Lakes Clay Greenwich House Pottery Groovy Tools LLC iLoveToCreate, Duncan Ent. Co. Jiffy Mixer Jones Publishing, Inc. Krueger Pottery, Inc. Laguna Clay Co. Leslie Ceramics Supply Co L & L Kiln Mfg., Inc. Loew-Cornell, Inc. Mayco Colors Midlantic Clay Minnesota Clay USA Muddy Elbows Nasco Arts & Crafts National Artcraft Co. New Century Arts New Mexico Clay North Star Equipment Olsen Kiln Kits Olympic Kilns The Original Hi Roller Orton Ceramic Foundation Paragon Industries, L.P. PCF Studios, Inc. Peter Pugger Mfg. Polyform Products Popular Ceramics Pottery Making Illustrated Royal & Langnickel Brush Mfg. Runyan Pottery Supply, Inc. Saral Paper Corp. Sargent Art Inc. Sax/School Specialty Sheffield Pottery Shimpo Ceramics Skutt Ceramic Products Smith-Sharpe Fire Brick Supply Smooth-On, Inc. Socwell LLC Spectrum Glazes, Inc. S&S Worldwide Standard Ceramic Supply Studio Sales Pottery Texas Pottery Triarco Arts & Crafts, Inc. Trinity Ceramic Supply Tucker’s Pottery Supplies United Art and Education Vent-A-Kiln Corp. (CO) COMPUTERS Blick Art Materials Core Learning Inc. Hash Inc.

JourneyEd Leaning Post Productions Lightfoot Ltd., Inc. Wacom Technology Corp. Welsh Products, Inc. (CT) CUTTING INSTRUMENTS AMACO/Brent American Ceramic Supply Co. Armada Art, Inc. Bamboo Tools Blick Art Materials Cascade School Supplies, Inc. Earth Guild Ed Hoy’s International Fasteners4schools.com Fiskars Groovy Tools LLC Inovart Inc. Molly Hawkins’ House Runyan Pottery Supply, Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. (CY) CRAYONS Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Crayola Discount School Supply Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Golden Artist Colors MKM Pottery Tools Molly Hawkins’ House Sanford Corp. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. S&S Worldwide Triarco Arts & Crafts, Inc. United Art and Education Winsor & Newton Witzend Workshop, LLC

(DR) DRAFTING Artograph, Inc. Blick Art Materials Copic Markers General Pencil Co. Grafix JourneyEd Madison Art Shop Molly Hawkins’ House Pentel of America Sakura of America Sanford Corp. Saral Paper Corp. Sax/School Specialty Staedtler-Mars, Limited United Art and Education Utrecht Mfg. Corp. (DS) DISPENSERS/CONTAINERS Blick Art Materials Bracker’s Good Earth Clays, Inc. Clear Bags Continental Clay Co. Evans Ceramic Supply Jack Richeson & Co., Inc. Jacquard Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education

(DE) DISPLAYS Aftosa Amon Carter Museum Artsonia Art Teacher on the Net Blick Art Materials Crystal Productions Ed Hoy’s International Flourish Company Graphic Display Systems Greenwich House Pottery J&J Display Nasco Arts & Crafts National Artcraft Co. Quinlan Visual Arts Center Sax/School Specialty Traveling Exhibits Triarco Arts & Crafts, Inc. Wyland Foundation

(DY) DYE/BATIKS Blick Art Materials Chicago Canvas & Supply The Compleat Sculptor, Inc. Earth Guild iLoveToCreate, Duncan Ent. Co. Jacquard Products Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp. Witzend Workshop, LLC

(DG) DRAWING Ampersand Art Supply Armory Art Center Artograph, Inc. Art Supplies Wholesale Art Teacher on the Net Blick Art Materials Cascade School Supplies, Inc. ColArt Americas, Inc. Copic Markers Crayola Daler-Rowney, USA Discount School Supply Dixon Ticonderoga Co./Prang Embrace Art Faber-Castell USA General Pencil Co. Grafix j a n u a r y 2 0 1 6 • 83 y e a r s

Hash Inc. Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Lightfoot Ltd., Inc. Liqui-Mark Corp. Madison Art Shop Martin/F. Weber Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Pentel of America Phelps Publishing Sakura of America Sanford Corp. Saral Paper Corp. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Segmation Speedball Art Products Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Visual Manna Wacom Technology Corp.

(EP) EASELS/PALETTES Art Boards Artisan Art Supplies Wholesale Blick Art Materials Cascade School Supplies, Inc. ColArt Americas, Inc. Daler-Rowney, USA Discount School Supply

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Inovart Inc. Jack Richeson & Co., Inc. Lightfoot Ltd, Inc Madison Art Shop Martin/F. Weber Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Royal & Langnickel Brush Mfg. Sargent Art Inc. Sax/School Specialty S&S Worldwide Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (FD) FUNDRAISING Artograph, Inc. Art to Remember ArtWare By You Axner Pottery Supply Blick Art Materials Embrace Art KidsKards Makit Products Inc. Mountain Color Original Works Sax/School Specialty Silvergraphics Studio Square 1 Art Welsh Products, Inc. (FI) FABRIC/FIBERS Ampersand Art Supply Blick Art Materials Chicago Canvas & Supply Crizmac Art & Cultural Ed. Matls. Earth Guild Flourish Company Harrisville Designs/Friendly Loom Jacquard Products Royalwood Ltd. Sax/School Specialty United Art and Education Witzend Workshop, LLC Women’s Studio Workshop (FN) FURNITURE/EQUIPMENT AMACO/Brent Ampersand Art Supply Art Boards Artisan Artograph, Inc. A.W.T. World Trade, Inc. Axner Pottery Supply Bailey Ceramic Supply Blick Art Materials Bluebird Mfg. Inc. Brent Pottery Equipment Cascade School Supplies, Inc. Clay Planet Conrad Machine Co. Continental Clay Co. Daler-Rowney, USA Debcor, Inc. Discount School Supply Euclid’s Elements Excel, Div. of AMACO The Folding Art Horse Great Lakes Clay Jack Richeson & Co., Inc. Klopfenstein Art Equipment Krueger Pottery, Inc. Laguna Clay Co. Lightfoot Ltd, Inc. MKM Pottery Tools Nasco Arts & Crafts North Star Equipment Orton Ceramic Foundation Peter Pugger Mfg. Runyan Pottery Supply, Inc. Sax/School Specialty Shain Solutions Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies www.ar tsandactivities.com

United Art and Education Utrecht Mfg. Corp. (FR) FRAMES/MATS Artisan Art Supplies Wholesale Bags Unlimited Blick Art Materials Cascade School Supplies, Inc. Frame Fit Co. Graphik Dimensions Ltd. Inovart Inc. Madison Art Shop Matcutter.com Pacon Corporation Sax/School Specialty Tara Materials Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp. (GR) GRAPHIC Artrage Blick Art Materials Conrad Machine Co. Core Learning Inc. Daler-Rowney, USA Grafix JourneyEd KopyKake Ent. Liquitex Artist Materials Molly Hawkins’ House Rockland Colloid Sakura of America Saral Paper Corp. Silvergraphics Studio Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp. Visual Manna Welsh Products, Inc. (HC) HOBBY/CRAFT Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armada Art, Inc. Arnold Grummer’s Paper Making Artisan Artograph, Inc. Art Teacher on the Net Art to Remember Aves Studio Axner Pottery Supply Badge-A-Minit Ltd Bailey Ceramic Supply BigCeramicStore.com Blick Art Materials Bluebird Mfg. Inc. Bracker’s Good Earth Clays, Inc. Capital Ceramics Carolina Clay Connection Cascade School Supplies, Inc. ColArt Americas, Inc. The Color Wheel Co. The Compleat Sculptor, Inc. Continental Clay Co. Crayola Createx Colors Daler-Rowney, USA Delphi Discount School Supply Dry Creek Pottery Earth Guild Ed Hoy’s International Elmer’s Products, Inc. Embrace Art Evans Ceramic Supply Faber-Castell USA Fasteners4schools.com Fiskars Florida Clay Art Co. Gelli Arts General Pencil Co. Glue Dots Int’l (GDI) Grafix Great Lakes Clay

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januar y 2016

Greenwich House Pottery Groovy Tools LLC Handy Art Harrisville Designs/Friendly Loom iLoveToCreate, Duncan Ent. Co. Inovart Inc. Jack Richeson & Co., Inc. Jacquard Products Jones Publishing, Inc. Krylon Products Group Laguna Clay Co. Liqui-Mark Corp. Liquitex Artist Materials L & L Kiln Mfg., Inc. Madison Art Shop Makit Products Inc. Mayco Colors Midwest Products MKM Pottery Tools Molly Hawkins’ House National Artcraft Co. Olympic Kilns Perfectone Mold Co. Phelps Publishing PMC Connection Polyform Products Rockland Colloid Royal & Langnickel Brush Mfg. Royalwood Ltd. Roylco Runyan Pottery Supply, Inc. Saral Paper Corp. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Segmation Shimpo Ceramics Smooth-On, Inc. S&S Worldwide Staedtler-Mars, Limited Studio Sales Pottery Tandy Leather Factory Texas Pottery Triarco Arts & Crafts, Inc. United Art and Education U.S. Artquest, Inc. Wacom Technology Corp. Whittemore-Durgin Glass Wikkistix Winsor & Newton Witzend Workshop, LLC (JM) JEWELRY/METAL American Ceramic Supply Co. Ampersand Art Supply Armory Art Center Artograph, Inc. Axner Pottery Supply BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC The Compleat Sculptor, Inc. Continental Clay Co. Delphi Ed Hoy’s International iLoveToCreate, Duncan Ent. Co. Jacquard Products L & L Kiln Mfg., Inc. Molly Hawkins’ House New Mexico Clay Olympic Kilns PMC Connection Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. United Art and Education Witzend Workshop, LLC (LO) LOOMS/WEAVING Ampersand Art Supply Blick Art Materials Earth Guild Harrisville Designs/Friendly Loom Inovart Inc. Royalwood Ltd.

Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education (LT) LEATHERCRAFT Blick Art Materials Earth Guild Jacquard Products Sax/School Specialty Tandy Leather Factory Triarco Arts & Crafts, Inc. (PB) PUBLISHERS Art Image Publications Art Shop Therapy Art Teacher on the Net Birdcage Books Bright Ring Publishing Inc. Clay Times Core Learning Inc. Crizmac Art & Cultural Ed. Matls. Crystal Productions Embrace Art F & W North Light Book Club Getting To Know, Inc. Getty Trust Publications Incredible Art Department Jones Publishing, Inc. Kids Can Press Leaning Post Productions Martin/F. Weber National Art Education Assoc. Orton Ceramic Foundation PCS Books Phelps Publishing Pottery Making Illustrated Quarry Books Quarto Publishing SRA/McGraw-Hill Visual Manna Watson Guptill Publications (PC) PAPER/CANVAS Artisan Art Supplies Wholesale Blick Art Materials Canson Inc. Cascade School Supplies, Inc. ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Discount School Supply Gold’s Artworks Graphic Products Corp. iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co., Inc. Lightfoot Ltd., Inc. Madison Art Shop Makit Products Inc. Martin/F. Weber McClain’s Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Renaissance Graphic Arts, Inc. Saral Paper Corp. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Speedball Art Products S&S Worldwide Strathmore Artist Papers Tara Materials Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PH) PHOTOGRAPHY Ampersand Art Supply Artograph, Inc. Art Teacher on the Net Bags Unlimited Blick Art Materials Jacquard Products Makit Products Inc. 39

Nasco Arts & Crafts Rockland Colloid Sax/School Specialty Tara Materials Triarco Arts & Crafts, Inc. Wacom Technology Corp. (PR) PRINTMAKING Ampersand Art Supply Art Boards Art Supplies Wholesale BigCeramicStore.com Blick Art Materials Conrad Machine Co. Daler-Rowney, USA Faust Ink, Inc. Gelli Arts Graphic Chemical & Ink Handy Art Inovart Inc. Jack Richeson & Co., Inc. Jacquard Products Kids Can Press Madison Art Shop McClain’s Molly Hawkins’ House Nasco Arts & Crafts Oregon College of Art & Craft Printmakers Machine Co. Renaissance Graphic Arts, Inc. Rockland Colloid Rock Paint Distr./Handy Art Sax/School Specialty Scratch-Art Co., Inc. Speedball Art Products Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Welsh Products, Inc. (PS) PASTELS Artisan Art Supplies Wholesale Art Teacher on the Net Blick Art Materials Cascade School Supplies, Inc. ColArt Americas, Inc. Daler-Rowney, USA Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Jack Richeson & Co., Inc. Martin/F. Weber Molly Hawkins’ House National Artcraft Co. Royal & Langnickel Brush Mfg. Sakura of America Sanford Corp. Sargent Art Inc. Sax/School Specialty Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PT) PAINTS/PIGMENTS American Ceramic Supply Co. Artisan Art Supplies Wholesale Art Teacher on the Net Axner Pottery Supply Blick Art Materials Capital Ceramics Cascade School Supplies, Inc. Chroma Inc. Clay Planet ColArt Americas, Inc. The Color Wheel Co. Continental Clay Co. Crayola Createx Colors Daler-Rowney, USA Discount School Supply Dixon Ticonderoga Co./Prang Earth Guild 40

Ed Hoy’s International Evans Ceramic Supply Faust Ink, Inc. Golden Artist Colors Handy Art iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co., Inc. Jacquard Products Jiffy Mixer Kids Can Press Krylon Products Group Laguna Clay Co. Liquitex Artist Materials Loew-Cornell, Inc. Madison Art Shop Martin/F. Weber Mayco Colors McClain’s Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Renaissance Graphic Arts, Inc. Rock Paint Distr./Handy Art Royal & Langnickel Brush Mfg. Sanford Corp. Sargent Art Inc. Sax/School Specialty Spectrum Glazes, Inc. Speedball Art Products S&S Worldwide Tara Materials Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Visual Manna Wacom Technology Corp. Winsor & Newton (RS) RUBBER STAMPS American Ceramic Supply Co. Arnold Grummer’s Paper Making BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC Continental Clay Co. Florida Clay Art Co. Inovart Inc. Jacquard Products Runyan Pottery Supply, Inc. Sax/School Specialty Speedball Art Products U.S. Artquest, Inc. (SA) SAFETY EQUIPMENT AMACO/Brent American Ceramic Supply Co. Bailey Ceramic Supply Blick Art Materials Continental Clay Co. Earth Guild Ed Hoy’s International Florida Clay Art Co. Great Lakes Clay Laguna Clay Co. Lightfoot Ltd, Inc. Minnesota Clay USA Nasco Arts & Crafts Orton Ceramic Foundation Runyan Pottery Supply, Inc. Sheffield Pottery Skutt Ceramic Products Vent-A-Kiln Corp. (SG) STAINED GLASS American Ceramic Supply Co. Ampersand Art Supply Blick Art Materials Capital Ceramics Delphi Ed Hoy’s International Jacquard Products L & L Kiln Mfg., Inc. Paragon Industries, L.P. Saral Paper Corp. Sargent Art Inc.

Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tulsa Stained Glass United Art and Education Whittemore-Durgin Glass (SH) SCHOOL/WORKSHOPS Academy of Art University Activa Products, Inc. Alfred University AMACO/Brent American Academy of Equine Art American Ceramic Supply Co. Ampersand Art Supply Arrowmont Sch. of Arts/Crafts Art Institute of Southern Cal. Artisan Art New England Workshops The Art of Education Artsonia Art Teacher on the Net Art Trek Axner Pottery Supply Baltimore Clayworks Belvedere Ceramic Arts Bisque Imports Boston Univ. School of Visual Arts Carbondale Clay Center Carolina Clay Connection Columbus College of Art & Design The Compleat Sculptor, Inc. Concordia Univ. Continental Clay Co. Corcoran Coll. Art & Design Crizmac Art & Cultural Ed. Matls. Daler-Rowney, USA D’Ambruoso Studios Delphi Discount School Supply Dry Creek Pottery Ed Hoy’s International Embrace Art Evans Ceramic Supply Florida Clay Art Co. Geil Kilns Getty Trust Publications Great Lakes Clay Greenwich House Pottery Groovy Tools LLC Haystack Mountain School of Crafts Hemlocks Studio iLoveToCreate, Duncan Ent. Co. Interlochen Ctr for Arts Jack Richeson & Co., Inc. Jacquard Products KQED Public Television Krueger Pottery, Inc. Laguna College of Art & Design Lightfoot Ltd., Inc. Martin/F. Weber Maryland Inst. College of Art Marywood University Mayco Colors Minn. Coll. Art/Des. Rm M105 Modern Art Museum of Ft. Worth Nantucket Island School New York University Ohio State University, Art Dept. Oregon College of Art & Craft Orton Ceramic Foundation Otis College of Art/Design Cont. Ed/Summer PCF Studios, Inc. Peninsula Art School The Pennsylvania State University Peters Valley Craft Center Picasso People Quinlan Visual Arts Center Rhode Island School of Design Ringling College/Art & Design Rocky Mountain College of Art & Design Runyan Pottery Supply, Inc. Sakura of America Savannah College of Art & Design j a n u a r y 2 0 1 6 • 83 y e a r s

School of the Art Inst. of Chicago Sax/School Specialty Scottsdale Artists’ School Segmation Shimpo Ceramics Sierra Nevada College Skidmore College Summer 6 Split Rock Arts Program SUNY New Paltz Taos Art School Teachers College Columbia Univ. Teachers, Art Center College Texas Pottery Truro Center for the Arts TTU Appalachian Center for Craft Tulsa Stained Glass University of the Arts The Wallace Foundation Western Michigan University Women’s Studio Workshop Woodstock School of Art (SP) SCULPTURE Aardvark Clay & Supplies Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armory Art Center A.R.T. Studio Clay Co. Aves Studio Axner Pottery Supply Bailey Ceramic Supply BigCeramicStore.com Bisque Imports Blick Art Materials Bluebird Mfg. Inc. Chavant, Inc. Clay Planet The Compleat Sculptor, Inc. Continental Clay Co. Crayola Creative Paperclay Co., Inc. Cress Mfg. Co. Earth Guild Ed Hoy’s International Evans Ceramic Supply Evenheat Kiln Florida Clay Art Co. Great Lakes Clay Greenwich House Pottery Groovy Tools LLC Jack Richeson & Co., Inc. Jacquard Products Kids Can Press Laguna Clay Co. Liquitex Artist Materials Madison Art Shop Minnesota Clay USA MKM Pottery Tools Molly Hawkins’ House Muddy Elbows Nasco Arts & Crafts New Century Arts New Mexico Clay Olsen Kiln Kits Olympic Kilns PCF Studios, Inc. Perfectone Mold Co. Polyform Products Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Smooth-On, Inc. Texas Pottery Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. Wikkistix Witzend Workshop, LLC

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83 y e a r s â&#x20AC;˘

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volume index

In every January and June issue, Arts & Activities magazine publishes a Volume Index. By category and author, the Index lists the articles that were published during a particular five-issue volume. We recommend keeping all of A&A’s Volume Indexes on your computer, in a binder or in a file for reference when looking for articles dealing with a particular topic, medium, artist, art technique, and so on.

VOLUME 158, SEPTEMBER 2015–JANUARY 2016 ART APPRECIATION/ART HISTORY Alive and Kicking: Not Just the Dead Guys: Focusing on 21st-Century Artists in the Art Room, Oct., p. 24 Alive and Kicking: Round and Round, Dec., p. 14 Art Print: Frida Kahlo, Painter, Imogen Cunningham, Oct., p. 19 Art Print: In the Omnibus, Mary Cassatt, Nov., p. 19 Art Print: Self-Portrait, Artemisia Gentileschi, Sep., p. 23 Art Print: Self-Portrait, Leyster, Judith, Dec., p. 23 Art Print: Stormy Night (Sturmwind), Marianne von Werefkin, Jan., p. 23 Introduction to the 2015–16 A&A Art Print Series: Women in Art, Sep., p. 22 Mixed-Media Self-Portraits in the Style of H.C. Porter, Dec., 16 Stepping Stones: Art History Strategies, Jan., p. 8 Study Print: Guitar, Pablo Picasso, Oct., p. 37 Study Print: The Icebergs, Frederic Edwin Church, Dec., p. 45 Study Print: Ngaady A Mwaash mask, Central Africa, Jan., p. 45 Study Print: Summer, Giuseppe Arcimboldo, Sep., p. 45 Study Print: Triptych: Cats Suggested as the Fifty-three Stations of the Tokaido, Utagawa Kuniyoshi, Nov., p. 37 A&A ART PRINTS: WOMEN IN ART Frida Kahlo, Painter, Imogen Cunningham, Oct., p. 19 In the Omnibus, Mary Cassatt, Nov., p. 19 Introduction to the 2015–16 A&A Art Print Series, Sep., p. 22 Self-Portrait, Artemisia Gentileschi, Sep., p. 23 Self-Portrait, Judith Leyster, Dec., p. 23 Stormy Night (Sturmwind), Marianne von Werefkin, Jan., p. 23 A&A STUDY PRINT Guitar, Pablo Picasso, Oct., p. 37 The Icebergs, Frederic Edwin Church, Dec., p. 45 Ngaady A Mwaash mask, Central Africa, Jan., p. 45 Summer, Giuseppe Arcimboldo, Sep., p. 45 Triptych: Cats Suggested as the Fifty-three Stations of the Tokaido, Utagawa Kuniyoshi, Nov., p. 37 ART IS AT THE CORE Frida Kahlo, Oct., p. 12 Wassily Kandinsky, Dec., p. 10 CLAY: EARTHEN AND AIR-DRY Clay Tips from the Gamble Studio: Smooth and Round Your Rims and Rough Edges, Dec., p. 37 Clay Tips from the Gamble Studio: You Can Handle It ... Another Way, Oct., p. 32 CHOICE-BASED ART The Common Core of Choice-Based Art, 42

Sep., p. 16 The Continuum of Choice: Finding the Right Fit for Teaching and Learning, Nov. p. 12 Diving Deep, Jan., p. 10 COLLABORATIVE PROJECTS Alive and Kicking: Round and Round, Dec., p. 14 Building Unity ... and Variety, Sep., p. 27 CHILDREN’S ART DIARY Learning and Playing, Dec., p. 30 COMMUNITY CONNECTIONS The Art Effect Project: Creative Tribute to Unsung Heroes, Sep., p. 30 Huggy Bears, Dec., p. 28 Living History Veterans Project: Telling Stories Visually, Nov., p. 16 DRAWING AND PAINTING Aboriginal Art, Jan., p. 18 Alive and Kicking, Not Just the Dead Guys, Focusing on 21st-Century Artists in the Art Room, Oct. p. 24 Alive and Kicking: Round and Round, Dec., p. 14 The Art Effect Project: Creative Tribute to Unsung Heroes, Sep., p. 30 The Art of the Selfie, Sep., p. 38 Checkered Animals, Sep., p. 32 Fireworks Over the City: A Celebration of Mixed Media, Dec., p. 18 Georgia O’Keeffe Meets Andy Warhol, Nov. p. 24 The Great Gate of Kiev Collagraphs, Nov., p. 26 High School Curriculum Series, Building a Strong Foundation, Lesson 3 of 10: Contour Studies, Nov., p. 14 High School Curriculum Series, Building a Strong Foundation, Lesson 4 of 10: Grid Art, Dec., p. 12 Ideas for Substitutes: Portraits of Frida, Oct., p. 23 Integrating the Curriculum: Math Reflections, Oct. p. 28 Less is More: Image Creation in Reverse, Sep., p. 34 Lines Exploding into Flowers, Sep. p. 35 Matching with Miguel, Jan. p. 16 Mixed-Media Motivates, Dec. p. 20 Mixed-Media Self-Portraits in the Style of H.C. Porter, Dec., p. 18 Pillow Possibilities, Dec., p. 27 Radial Symmetry Prints, Nov., p. 28 Start the Year with Classy Doodling, Sep., p. 36 ELEMENTARY (K-5) Alive and Kicking: Round and Round, Dec., p. 14 The Art Effect Project: Creative Tribute to Unsung Heroes, Sep., p. 30 Creative Collaboration: Building Unity ... and Variety, Sep., p. 27 Fireworks Over the City: A Celebration of Mixed Media, Dec., p. 18 For Those Early Finishers: Collaborative Color

Wheel and Art Collages, Oct., p. 26 The Great Gate of Kiev Collagraphs, Nov., p. 26 Ideas for Substitutes: Portraits of Frida, Oct., p. 23 Integrating Art and Science with “Owl Moon,” Oct., p. 30 Integrating the Curriculum: The Colors of Africa, Jan., p. 14 Integrating the Curriculum: Math Reflections, Oct. p. 28 Lines Exploding into Flowers, Sep. p. 35 Masks of Fur and Hide, Jan., p. 22 Matching with Miguel, Jan. p. 16 Mixed-Media Self-Portraits in the Style of H.C. Porter, Dec., p. 18 Printmaking Doesn’t Bite, Nov. p. 30 Radial Symmetry Prints, Nov., p. 28 FABRIC AND FIBER Community Connections: Huggy Bears, Dec., p. 28 Pillow Possibilities, Dec., p. 27 FORUM, THOUGHTS TO SHARE Professional Development in your Pajamas, Dec., p. 30 HIGH SCHOOL CURRICULUM SERIES Building a Strong Foundation, Lesson 1 of 10: Name Designs, Sep., p. 18 Building a Strong Foundation, Lesson 2 of 10: Visualizing Vocabulary, Oct., p. 16 Building a Strong Foundation, Lesson 3 of 10: Contour Studies, Nov., p. 14 Building a Strong Foundation, Lesson 4 of 10: Grid Art, Dec., p. 12 Building a Strong Foundation, Lesson 5 of 10: Creative Color Wheels, Jan. p. 12 INTEGRATING THE CURRICULUM The Colors of Africa, Jan., p. 14 Integrating Art and Science with “Owl Moon,” Oct., p. 30 Math Reflections, Oct. p. 28 MIDDLE AND SECONDARY (6-12) Aboriginal Art, Jan., p. 18 African Masks: A Two-Phase Project, Jan., p. 27 The Art Effect Project: Creative Tribute to Unsung Heroes, Sep., p. 30 The Art of the Selfie, Sep., p. 38 Character Stamping, Nov., p. 23 Checkered Animals, Sep., p. 32 Community Connections: Huggy Bears, Dec., p. 28 Differing Realities: The Contemporary Graphic Art of Daniel Guzmán, Jan., p. 20 For Those Early Finishers: Collaborative Color Wheel and Art Collages, Oct., p. 26 Georgia O’Keeffe Meets Andy Warhol, Nov. p. 24 Community Connections, Living History Veterans Project: Telling Stories Visually, Nov., p. 16 High School Curriculum Series, Building a Strong Foundation, Lesson 1 of 10: Name

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Designs, Sep., p. 18 High School Curriculum Series, Building a Strong Foundation, Lesson 2 of 10: Visualizing Vocabulary, Oct., p. 16 High School Curriculum Series, Building a Strong Foundation, Lesson 3 of 10: Contour Studies, Nov., p. 14 High School Curriculum Series, Building a Strong Foundation, Lesson 4 of 10: Grid Art, Dec., p. 12 High School Curriculum Series, Building a Strong Foundation, Lesson 5 of 10: Creative Color Wheels, Jan., p. 12 Less is More: Image Creation in Reverse, Sep., p. 34 Mixed-Media Motivates, Dec. p. 20 Alive and Kicking, Not Just the Dead Guys: Focusing on 21st- Century Artists in the Art Room, Oct. p. 24 Pillow Possibilities, Dec., p. 27 The Pop-Out Identity Collage, Oct. p. 18 Start the Year with Classy Doodling, Sep., p. 36 MIXED MEDIA Alive and Kicking: Round and Round, Dec., p. 14 Creative Collaboration: Building Unity ... and Variety, Sep., p. 27 Fireworks Over the City: A Celebration of Mixed Media, Dec., p. 18 For Those Early Finishers: Collaborative Color Wheel and Art Collages, Oct., p. 26 The Great Gate of Kiev Collagraphs, Nov., p. 26 High School Curriculum Series, Building a Strong Foundation, Lesson 1 of 10: Name Designs, Sep., p. 18 High School Curriculum Series, Building a Strong Foundation, Lesson 2 of 10: Visualizing Vocabulary, Oct., p. 16 High School Curriculum Series, Building a Strong Foundation, Lesson 5 of 10: Creative Color Wheels, Jan., p. 12 Ideas for Substitutes: Portraits of Frida, Oct., p. 23 Integrating Art and Science with “Owl Moon,” Oct., p. 30 Integrating the Curriculum: The Colors of Africa, Jan., p. 14 Mixed-Media Motivates, Dec. p. 20 Mixed-Media Self-Portraits in the Style of H.C. Porter, Dec., p. 18 The Pop-Out Identity Collage, Oct. p. 18 Printmaking Doesn’t Bite, Nov. p. 30

Dec., p. 14 Creative Collaboration: Building Unity ... and Variety, Sep., p. 27 For Those Early Finishers: Collaborative Color Wheel and Art Collages, Oct., p. 26 Integrating Art and Science with “Owl Moon,” Oct., p. 30, Mixed-Media Motivates, Dec. p. 20 The Pop-Out Identity Collage, Oct. p. 18 PRINTMAKING/IMAGE TRANSFER Character Stamping, Nov., p. 23 Georgia O’Keeffe Meets Andy Warhol, Nov. p. 24 The Great Gate of Kiev Collagraphs, Nov., p. 26 Pillow Possibilities, Dec., p. 27 Printmaking Doesn't Bite, Nov. p. 30 Radial Symmetry Prints, Nov., p. 28 Random Thoughts about Art and Education Invention and Creativity, Nov., p. 10 What is Work?, Sep., p. 10 READY-TO-USE RESOURCES Art Print: Frida Kahlo, Painter, Imogen

Cunningham, Oct., p. 19 Art Print: In the Omnibus, Mary Cassatt, Nov., p. 19 Art Print: Self-Portrait, Artemisia Gentileschi, Sep., p. 23 Art Print: Self-Portrait, Leyster, Judith, Dec., p. 23 Art Print: Stormy Night (Sturmwind), Marianne von Werefkin , Jan., p. 23 Introduction to the 2015–-16 A&A Art Print Series, Sep., p. 22 Study Print: Guitar, Pablo Picasso, Oct., p. 37 Study Print: The Icebergs, Frederic Edwin Church, Dec., p. 45 Study Print: Ngaady A Mwaash mask, Central Africa, Jan., p. 45 Study Print: Summer, Giuseppe Arcimboldo, Sep., p. 45 Study Print: Triptych: Cats Suggested as the Fifty-three Stations of the Tokaido, Utagawa Kuniyoshi, Nov., p. 37 RECYCLING/USING FOUND OBJECTS Character Stamping, Nov., p. 23 For Those Early Finishers: Collaborative

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MULTICULTURAL Aboriginal Art, Jan., p. 18 African Masks: A Two-Phase Project, Jan., p. 27 Differing Realities: The Contemporary Graphic Art of Daniel Guzmán, Jan., p. 20 Integrating the Curriculum: The Colors of Africa, Jan., p. 14 Matching with Miguel, Jan. p. 16 PAPER/PAPIER-MACHE/COLLAGE Alive and Kicking: Round and Round, www.ar tsandactivities.com

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Once finished, students were continued from page 21 eager to discuss their work with their peers.

GUZMÁN

Reflection Students appreciated being able to pick their own subjects, and make art with what was important to them. Ink can be daunting—mostly due to the fear of messy cleanups—but keep a damp sponge handy, a positive attitude, and we know your students will have as much fun as ours did! A possible extension of this lesson could be for students to work in a short series of three inked images, like Guzmán’s How to Make a Monster? series. In addition, students requiring accommodation might visually research comic-book art with school-

appropriate stories and see how techniques essential to the project are used in short comic-style strips. In advanced classes, students can compose a personal narrative that integrates their own history with that of another culture as a means to compare and contrast varied perspectives. In closing, we would like to thank Mrs. Traube as a cooperating teacher with Southern Illinois University Edwardsville, and her fantastic students at Columbia High School in Columbia, Illinois, for allowing this project to flourish in their art room. n Justin P. Sutters is Professor of Art Education at Southern Illinois University Edwardsville, and Keirsten Savering-Probst is an art educator in Tomball, Texas.

INDEX

Color Wheel and Art Collages, Oct., p. 26 continued from page 42 Mixed-Media Motivates, Dec. p. 20 Pillow Possibilities, Dec., p. 27 The Pop-Out Identity Collage, Oct. p. 18 STEPPING STONES Aligning with the Standards, Oct., p. 10 Art History Strategies, Jan., p. 8 Assessments in Art, Nov., p. 10 Developing Your Art-Class Procedures, Sep., p. 14 Preparing for Youth Art Month, Dec., p. 10 TRIED & TRUE TIPS FOR ART TEACHERS The Diversity of Art, Jan., p. 46 Fun with Fibers, Dec., p. 46 Let’s Make Some Great Art, Sep., p. 46 Paper Art Mash-Up, Oct., p. 38 Printing with a Purpose, Nov., p. 38 YOUNG ARTIST Kerlin, Brendan, Oct, p. 14 AUTHORS Arnold, Alice, Sep., p. 30 Benson, Cynthia, Sep., p. 38 Bosley, Mary., Dec., p. 18 Carroll, Colleen, Sep., p. 20, 23; Oct., p. 19; Nov., p. 19; Dec., p. 23; Jan., p. 23 Crumbley, Leslie V., Sep., p. 35 Dudley, Lori, Jan., p. 27 Fergus, Jenna, Dec., p. 31 Franklin, Susan H., Jan., p. 14 Gamble, Tracy P., Oct., p. 32; Dec., p. 37 Gearheart, Karla L., Dec., p. 27 Greenwood, Nate, Sep. p. 32 Hathaway, Nan E., Sep. p. 16 Hausman, Jerome J., Sep., p. 10; Nov. p. 8 Hayes, Angela, Nov., p. 26 Hicks, Bill, Dec., p. 20 Jaquith, Diane B., Nov. p. 12 Johnson, Judy, Oct. p. 14 Koonlaba, Amanda, Oct., p. 12, 23; Dec. p. 11 Lubiner, Glenda, Sep., p. 46; Oct., p. 38; Nov., p. 38; Dec., p. 46; Jan., p. 46 Masse, Don, Sep., p. 27; Oct. p. 24; Dec. p. 14; Jan., p. 16 Mazur, Matt, Jan., p. 18 Mazzuto, Hannah, Nov., p. 28 McLemore, Emily Maxwell, Nov. p. 24 Meleones, Tara L., Dec. p. 16 Miller, Jana, Oct. p. 14 Miller, Sally, Oct. p. 28 Moll, Emily, Jan., p. 22 O’Hanley, Heidi, Sep., p. 14; Oct., p. 10; Nov., p. 10; Dec., p. 10; Jan. p. 8 Osterer, Irv, Sep, p. 34; Nov., p. 23 Pippin, Sandi, Sep., p. 36 Savering-Probst, Keirsten, Jan., p. 20 Skophammer, Karen, Oct., p. 18 Speelman, Melissa, Oct. p. 26 Stamm, Stephanie, Dec., p. 28 Stoller, Zach., Nov., p. 30 Sutters, Justin P., Jan p. 20 Székely, George, Dec., p. 30 Toole, Julie, Jan., p. 10 West, Debi., Sep., p. 18; Oct. p. 16; Nov. p. 14; Dec. p. 12; Jan., p. 12 n Whitehead, Ron, Nov., p. 16

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STUDY PRINT

the hardships of birth and death, and the domestic role of women within the culture. Public domain.

ceremony which reenacts the royal dynastic myth. The mask appears at funerals and boysâ&#x20AC;&#x2122; initiations. The lines (tears) and triangles (hearthstones) represent

ancestor of the 17th-century Bushoong Kuba dynasty. It performs with two other masks representing royal male ancestors, Mashamboy and Bwoon, in a

high. Royal Museum for Central Africa, Tervuren, Belgium. Ngaady A Mwaash was the wife of the first Kuba king who was a founding royal female

Ngaady A Mwaash mask, Kuba culture, Central Africa. Wood, pigment, raffia cloth, cowrie shells, glass beads; approximately 15 inches

“Keep good company—that is, go to the Louvre.” — Paul Cézanne

new year has begun and I am confident that you all had a restful and or fun-filled winter break. It is back to school now and time to get busy with art business. This month we focus on art history, art appreciation, and multicultural art. As 21st-century learners, our students need to learn critical thinking skills, collaboration, communication, and life skills. They must understand and respect a variety of diverse cultures. By teaching them the history of art and incorporating multicultural art lessons into your curriculum, students will master these skills and content areas.

tip #1

A Museum Trip? Why not! Just like Cézanne said, go the Louvre. All students should be able to experience an art museum with their art teacher. Start the year off with a museum trip whether

trip, then virtual trips are the way to go. Many museums, including The National Gallery of Art, The Louvre, and The National Gallery in London offer several different virtual tours of their museums. Our students are so technology savvy that they will have a fun time at the museum even if they are sitting at their art table.

tip #2

Glenda L

ubiner

Woman (or Man) in Gold With the

movie Woman in Gold hitting the big screen this past year, I decided to do a lesson on Gustav Klimt. As a class we researched the artist, the time period, and the styles of art that were happening at that time. The results of our research ended up in a self-portrait project. The students brought in photos and cut out their heads and bodies. They glued these to an 8" x 8" piece of black construction paper and added decorative motifs and designs using construction paper crayons. The last step was to embellish their

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K–8 do an Impressionist piece of work. My kindergarten students collaged different shades of blue and violet scraps of tissue paper onto a white piece of drawing paper. They then cut out a Japanese footbridge and glued it on the paper. Using tempera paint, they added

The Diversity of Art it is a virtual trip or an actual field trip. Many museums are free to students and if not, grants are often available. Even if you do not live in a big city with large well-known art museums, that is not a problem. You would be surprised to find some spectacular museums in small towns across the country. One museum I experienced last summer was Crystal Bridges Museum of American Art in Bentonville, Arkansas (or as one of my students called it, ARTkansas). This was a great place to learn about art and the history of our country. Other great museums I was able to visit were the Norman Rockwell Museum in Stockbridge, Massachusetts and the Boca Raton Museum of Art in Boca Raton, Florida. If you are not able to go on a field ATTENTION READERS If you would like to share some of your teaching tips, email them to: triedandtrue@artsandactivities.com

self-portraits with gold paint markers. They students loved doing this project, especially using the gold markers!

tip #3

Cut it Out! Henri Matisse was a very

trees, vines, and all colored flowers to create Monet’s garden. The finishing touch was to add cutout lily pads and tissue paper pop-up lilies on the pads. My eighth-graders learned about light and value. Using tempera paint, they created 18" x 24" Impressionist landscape paintings, using short, choppy brushstrokes. For some it was a bit of a challenge, as they are used to painting using long smooth brush strokes. For others they had great success with this project creating amazing landscape paintings.

intriguing artist to most. From his colorful Fauve paintings to his incredible cut outs, the life and works of this artist can be taught from kindergarten to college. All grade levels can be introduced to geometric and organic shapes by cutting them out and designing a cutout of his or her own. It can be as simple as cutting out simple shapes for the elementary group to a more intense design using repetitive organic shapes for the upper levels. These are always a success and could be a great project for the new semester.

Happy Birthday to Yves Tanguy (Jan. 5. 1900); Barbara Hepworth (Jan. 10, 1903); Berthe Morisot (Jan. 14, 1841); Paul Cézanne (Jan. 19, 1839); Édouard Manet (Jan. 23, 1832); and Jackson Pollock (Jan. 26, 1912). n

Confessions of Impressions Introduce your students to the Impressionist painters. I have had students from

Arts & Activities Contributing Editor Glenda Lubiner (NBCT) teaches art at Franklin Academy Charter School in Pembroke Pines, Fla. She is also an adjunct professor at Broward College.

tip #4

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