Arts & Activities Magazine January 2017 by Arts & Activities

PASSION

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CONTENTS J A NUA R Y 2 0 1 7

VOLUME 160, N o. 5

14 16 18 20 27 28

APPRECIATING ART AND CULTURES

MY KIND OF MANDALA Matt Mazur ALIVE AND KICKING: LOCAL LOVE Don Masse SHAPING THE PAST Gary Kohl SAKURA SEASON IN THE ART ROOM Suzanne Dionne ARTFUL INCLUSION: RAINSTICKS Rocky Tomascoff CALLIGRAPHY: THE ART OF BEAUTIFUL WRITING Hugh Petersen

YEARLONG ART II CURRICULUM SERIES 12 WHERE THE TECHNICAL MEETS THE CREATIVE, LESSON 5 OF 10: STILL-LIFE

SERIES Debi West

SPECIAL FEATURES AND COLUMNS 8 STEPPING STONES, ART-CLASS ADAPTATIONS: WORKING WITH SPECIAL NEEDS Heidi O’Hanley

10 CHOICE-BASED ART: ARTISTIC BEHAVIORS OF A TEACHER Tiffany Erie 46 TRIED & TRUE TIPS FOR ART TEACHERS: OUTSIDE THE BOX Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 23 ARTS & ACTIVITIES ART PRINT FEATURE, PAUL GAUGUIN, THE MEAL

Tara Cady Sartorius 45 ARTS & ACTIVITIES STUDY PRINT: TANOO, QUEEN CHARLOTTE ISLAND, 1913 Emily Carr

A&A AT YOUR SERVICE 33 BUYER’S GUIDE 2017 41 AD INDEX 42 VOLUME 160 INDEX

DEPARTMENTS

4 EDITOR’S NOTE 30 MEDIA REVIEWS 31 SHOP TALK

ON THE COVER

MANDALAS Colored pencils, fine-point permanent black markers, 12" x 12". By Meredith, Aiden and Cecilia, students at Dealy International Academy, Dallas, Texas. See “My Kind of Mandala,” 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

Throughout history, cultures around the world

president

Thomas von Rosen

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

have had something in common: creative expression. And, in this month’s

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

issue, we are celebrating and appreciating art and cultures. We begin with

our cover story, “My Kind of Mandala.” Art teacher Matt Mazur writes, “I

EDITORIAL ADVISORY BOARD

love exploring culture and geography in the classroom. Art is the perfect avenue to make the history of a culture accessible to students in a hands-on and memorable way.” From his introduction to mandalas, to his students’

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

Jerome J. Hausman Lecturer, Consultant and Visiting Professor, at The School of the Art Institute of Chicago Barbara Herberholz Art Education Consultant, Sacramento, California

final art, Matt shares it all starting on page 14.

The Pacific Northwest Coast—stretching from northern British Columbia southward through Washington—is rich with

Mark M. Johnson Director, Montgomery Museum of Fine Arts, Montgomery, Alabama George Székely Senior Professor of Art Education, University of Kentucky, Lexington

the art of the Haida and other indigenous coastal groups. In “Shaping the Past” (page 18), Canadian teacher Gary Kohl shares his 3-D mask unit, which dovetails beautifully with his students’ social studies classes that explore North America’s First Nations.

In “Sakura Season in the Art Room” (page 20), Suzanne Dionne proves that, “Adding background information at the start of a lesson can enhance learning.” As she shared Japanese art that features cherry blossoms, the story of how the U.S.A. received a gift of cherry trees from Japan, and more, her students became eager to start painting their own flowering cherry trees.

CONTRIBUTING EDITORS Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont Amanda Koonlaba Art Teacher and Arts Integration Resource, Lawhon Elementary School, Tupelo, Mississippi 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

In “Calligraphy: The Art of Beautiful Writing”

Debi West Lead Visual Art Teacher, North Gwinnett High School, Suwanee, Georgia

(page 28), Hugh Petersen introduces his students to the art of calligraphy

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and how it is the highest art form in the Arabic and Chinese cultures. They

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

also learn how to use calligraphy pens, write passages of text in script, create drawings that illustrate those passages, and incorporate it all in final personalized calligraphy posters. “This project takes patience and practice, yet it is one that my eighth-grade students take pride in,” writes Hugh. In fact, it is nearly impossible for him to display the posters at school because his students can’t wait to take them home to display.

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 HOW TO REACH ARTS & ACTIVITIES Subscription Services To subscribe, renew, change an address or buy single copies,

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It could be said that creative expression is a need that’s existed since the genesis of humankind, and the articles described above only touch the tip of that iceberg. Around the country, art teachers are introducing their students to the art of a variety of cultures. Please tell us how you bring cultural appreciation into your art room. Send us an email when you have the time.

Letters to the Editor Letters pertaining to magazine content and art education in

general are welcomed. Arts & Activities reserves the right to edit all letters for space and clarity. Send to ed@artsandactivities.com

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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The opinions and recommendations expressed by individual authors within this magazine are not necessarily those of Publishers’ Development Corp.

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WHY BUY AN L&L? Diane Emerson has worked with clay for 30 years. Whether teaching in the Pemberton New Jersey School District or pursuing her own artistic endeavors, Diane has always been passionate about what she does. Why L&L? Diane chooses an L&L JD230 because the fully opening lid allows her to easily load her large sculptures and tiles and because the durable ceramic element holders have kept her L&L kiln in likenew condition - even when loading her large pieces. She switched to L&L because of the deterioration of the element channels in her old kiln.

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Heroes and Handbuilding Mythic Imagery in Clay AMACOÂŽ Lesson Plan

Amphora was made using AMACO 67-M Sedona Red Clay, underglazed with V-370 Velour Black and bisqued to Cone 04, then glazed with 2 coats of LM-10 Transparent Matte and fired to Cone 05.

Steps

1) CREATE TEMPLATE:

Research ancient Greek amphora shapes and draw template. 2) SLAB BASE: Prepare the base of the

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3) MAKE COILS: Roll clay into coils.

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join, using template to shape the form.

5) SMOOTH: Use a paddle and a scraper

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6) DETAIL: Add handles. 7) SGRAFFITO: Use black underglaze

and a sgraffito tool to create imagery.

8) BISQUE, GLAZE, and FIRE.

Fun Fact Early amphorae had rounded or pointed bottoms instead of flat

bottoms so they could be more easily shipped and transported as well as stored in locations with dirt floors.

for more detailed instructions and a video demonstration

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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 CLASS ADAPTATIONS: WORKING WITH SPECIAL NEEDS

BY HEIDI O'HANLEY

n each of our classes, we attempt to meet the needs of every child. From special needs to gifted, ELL to non-verbal, as well as all other abilities and qualities, we do our best to accommodate our students and help meet their learning styles. We are trained in our educational degrees how to create accommodations for your students, especially with an individualized education program (IEPs). I would like to focus on working with students with special needs. My own daughter has special needs. When she was at 18 months of age, we began Early Intervention therapy and after testing, it was concluded that she was developmentally delayed in speech and on the autism spectrum. We pretty much knew what the answer would be and we still love our daughter just the same, but we know we’ll have a journey ahead with her development. Some of you may have similar stories, but being a parent of a special needs child opens your eyes to a unique set of challenges and joys. You will have many students in your art classes with unique personalities, and I would like to provide some advice as both an educator and a parent of special needs children.

BE PATIENT. Having students with any special need

will present a learning experience within your classroom, and some days will be tougher than others. You may need to repeat directions again, or work one on one if a paraprofessional is not available. There may be times when a student will shut down and if that happens, give them the time they need to calm down and come back on track. Giving students their space helps the child refocus and continue on their work.

KEEP UP TO DATE ON YOUR STUDENTS’ IEPS.

Throughout the school year, meetings will be taking place to determine what services will be recommended to meet the students’ needs and depending on the development over time, students’ IEPs can change. Stay in communication with the special education teachers within your districts to keep up to date with any changes. You can also request to attend meetings. As a visual teacher, you can give a unique perspective on their development, especially with fine motor and social behavior in your classes.

and communication we receive from our daughter’s teachers and therapists. Imagine how your parents would feel receiving a note or phone call from the art teacher! Open communication helps to bridge connections with everyone involved and gives an extra resource of support.

DO YOUR BEST TO PROVIDE THE ACCOMMODATIONS NEEDED. There are many ways to work with your

students, from where to seat them in class, to providing materials that adapt with their needs. In communication with special education teachers, we acquired scissors that help with fine motor development, special seating for students who need support at the tables, and technology settings for the Chromebooks, tablets and laptops used.

ASK QUESTIONS. It is very good to keep open com-

munication for all parties involved with a child’s development. Sometimes, a situation may arise that stumps you (for example, a student responds to work less than an average day). Attempt to communicate with the student, paraprofessional, or teacher involved to see if there was any recent changes that could have altered the child’s behavior. One method our daughter’s teacher uses is communication slips, which helps provide information for handling the transitions of the day. In knowing how our daughter started off her day, the teacher can provide answers for the therapists and other educators involved working with her. If your student appears to be reacting beyond what you’re familiar with, ask questions.

KEEP AN OPEN MIND. As a parent of a special needs child, I am constantly worried about my daughter. When we’re in public, I don’t know if or when she will have a tantrum. We learned that people will have opinions and throw comments at you without knowing our situation, and we admit as much as we tr y to keep an open mind and shrug it off, it does hurt. Imagine how the parents of your students feel. We are all working together to provide for all students involved. We will have days that are more challenging than others. On the bright side, there will be successes as well! But I do need to stress that you need to keep an open mind. Do not let your frustrations cloud your ability to work with your students. The best thing you can do is provide the love and support they need to develop and grow. After all, you are part of the team who helps your students become who they are meant to be. n

ent’s day when any teacher takes an extra step in communication. From my end, I appreciate all of the notes

Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT) teaches elementary art for Indian Springs School District #109, in the Greater Chicago Area. Visit her blog at www. talesfromthetravellingartteacher.blogspot.com.

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GET TO KNOW THE FAMILIES. It really makes a par-

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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.

ARTISTIC BEHAVIORS OF A TEACHER BY TIFFANY ERIE

reating assessments, teaching standards, planning lessons, collecting data, displaying art and grading for my 850 elementary students—the “business” of teaching art can be overwhelming! But when I look to the heart of teaching in a choice-based art classroom, it's about making choices using artistic behaviors.

AS I WORK ON MY GOAL for the upcoming school year—

onstrate my process for this behavior. During student work time, it’s easy to get busy attending to students’ needs, refilling centers’ supplies, assessing and demonstrating techniques, incorporating art history, and holding mini critiques. But my favorite times are when I am struck with an idea because a student, material, or random collection of happenings, has inspired me. This is my chance to practice my own artistic behaviors. I typically try to make a quick note, take a picture or, better yet, sit down with a couple of students to work and chat. These moments are when I learn more about the students, they learn more about me, and I about myself, because this is when students begin asking me questions about my process. My goal as an art educator is that my students leave their elementary art experience with the ability to think creatively, develop ideas, and apply curiosity and play to their work to help them think critically. When I take the time to demonstrate my artistic behaviors or studio habits, I observe that my students are more comfortable with sharing their own discoveries and behaviors they have worked through.

incorporating the “Studio Habits of Mind,” as written about in Studio Thinking 2, by Hetland, Winner, Veenema and Sheridan—I find myself asking many questions. The biggest one being, “how do I teach the Studio Habits of Mind (SHoM) to my students while allowing them to find their own habits/behaviors and also remember that I have my own artistic behaviors?” The Studio Habits of Mind I’m referring to are: develop craft, underThey need the chance stand art worlds, engage and TEACHING FOR ARTISTIC BEHAVto incorporate play, curiosity persist, stretch and explore, IOR is about learning from envision, reflect, express, and each other and acknowland experimentation so they can observe. These behaviors do edging that we all work and not happen in a particular order learn differently. Stopping in understand and recognize their and can look very different for those moments and acting on own habits for envisioning. every artist. my own artistic behaviors is one The behavior that I have struggled way I can demonstrate how an artist with lately is envision. As I watch my students works. I need to understand my own curiwork, I struggle with deciding if I should expect them to ous moments, how I play with materials and think critically do a particular number of sketches before they begin their about my work, develop and plan for my creative ideas. My final work. How should I teach them to envision? Envision is students need to see all of that happen. described in Studio Thinking 2 as “learning to picture mentally Since I made the switch to choice-based art, I am able what cannot be directly observed and imagining possible next to sit with the students and work on some of my own ideas. steps for making a piece.” I now take the time to think creatively myself. I can be an My process for envisioning includes using sketches and outstanding art teacher, but, if I get so caught up in the having a fully developed and researched plan. But I cannot business of being a teacher and forget my own artistic expect my elementary-aged students to be at that level or behavior, then I am doing a disser vice to my students. have that same behavior. They need the chance to incorpo- They and I both need the reminder that I am not just an art rate play, curiosity and experimentation so they can under- teacher. I have my own creative ideas and artistic behaviors that I can model for my students. n stand and recognize their own habits for envisioning. ONE OF THE MANY BENEFITS of choice-based art education

is that students are given the oppor tunity to take ownership over their own processes. If I step in and tell them an expected way to envision, I am not allowing them the oppor tunity to have that ownership. I can, however, dem-

Tiffany Erie is a K–5 choice-based art teacher. She teaches at a public elementary school in Rochester, Minnesota, that houses both a neighborhood school and a Montessori school. She is in her eighth year of teaching and her first full year of choice-based art.

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AA1701

Yearlong Art II Curriculum Series | WHERE THE TECHNICAL MEETS THE CREATIVE

LESSON 5 OF 10

Still-Life Series by Debi West

love doing still-life studies with my students. From the beginning art student to the seasoned, it’s always an exciting challenge to not only create a still-life set up that will inspire students and push them to their personal best, but to incorporate the textures that are so important for our kids to learn. So as I begin my still-life set up, I include my students in the process from day one. I invite them to bring in some of their favorite objects and I remind them that we will want to incorporate sheets or cloth folds (as mentioned in article 3), glass, metal,

foliage, wood, creating a lovely array of objects that push them to experiment with textures in their line, shape and value works. I often have a step-stool ladder, plastic plants or greens, a large sheet, vases, mirrors, wooden mannequins, plaster column, guitar and other musical instruments and I also discuss the importance of varying the size of the objects found, which makes for much more exciting compositions. Once the initial set up of the still life is complete, I invite students to use viewfinders to locate interesting areas in which to draw. They are free to move their seats and walk around the installation. (I have an island in my room, so we set up the still life in the middle of the island for students to see from all sides.) They are also free

to use their tables, easels or drawing boards, again, giving them choices and encouraging them to experiment. DEPENDING ON THE TIME ALLOTTED

for this project, I start my students with graphite and then move them into their second piece, which is done in charcoal. Over the years, my time has been cut so I know invite them to use graphite AND/OR charcoal and create one well-done still life on 12" x 18" white drawing paper. I reiterate daily how important it is to measure. If they aren’t using their pencils or fingers and eyes to measure the placement of the objects, they find that they are always off. So, the more I mention it, the more the students’ final drawings are spot on! This first drawing generally takes a little over a week. Once complete, we then discuss art history eras and I have them conduct some research at home finding an art-historical style or master artist that inspires and challenges them. They bring in samples of this work to class. They then begin to plan

Students’ second work in this series entailed drawing areas close to their first charcoal still life, using their choice of media, depending on what art-historical style or master artist inspired them.

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LESSON 5 OF 10

ART II CURRICULUM SERIES

Still-Life Series LEARNING OBJECTIVES

MATERIALS

High-school Art II students will ... • learn the importance of drawing from life and from art historical inspirations. • conduct a compare/contrast of the two drawings as a final learning objective.

• 9" x 12" white drawing paper • Still-life arrangements created by students using various heights, widths and textural elements • Graphite, charcoal, mixed media

PROCEDURES

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

their second work in this series, where they will draw areas close to their first still life and use any media they choose, depending on what or who inspired them. I do have them keep the size to 12" x 18" so these can be hung together for a nice compare/contrast lesson, but the results are always incredible. At first, my students are ver y resistant when I tell them they will be drawing two still-life studies, but when they realize their second one is more about incorporating creativity with the technical, it generates a lot of excitement. I love to exhibit these beautiful studies in the hall and have my students actually write quick compare/contrast paragraphs that go under their works. I often see them bring their friends into the art hallway to discuss their work. Taking the oft-dreaded still-life study to this new arena pushes my students to think creativity, dive into art histor y, and push their creativity to the next level! Up next … “Theme and Variation — the perfect midterm!” n

1. The teacher will discuss the importance of measuring when drawing from a direct observational still life. 2. Students will create their own class still life, utilizing materials used in previous lessons that contain various textural elements, such as metal, glass, cloth, plants, wood, etc. 3. Students will focus on at least 4 objects and draw an interesting composition drawing what they see.

4. Students will make their first drawing concentrating on realism using graphite or charcoal. 5. Students will then make their second drawing concentrating on a creative spin using an art historical reference and mixed media. 6. Students will present both drawings together and add a written critique using a compare/contrast essay. Note: This lesson could also be a wonderful end-of-the-semester summative assessment.

ASSESSMENT We do in-process critiques using my “2 Glows and a Grow” model: Each student selects a classmate’s work that speaks to him/her and attaches three notes—two with what works, and one with what the artist might want to consider or change. There is also 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.

A&A Contributing Editor Debi West, Ed.S, NBCT, is Art Dept. Chair at North Gwinnett High School in Suwanee, Ga.

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My Kind of

by Matt Mazur

love exploring culture and geography in the classroom. Art is the perfect avenue to make the history of a culture accessible to students in a hands-on and memorable way. It is true that the best art is born of a deeper connection with the world around us. Mandalas are a beautiful project to pull math, culture, art skills and geography all together in an easily understood and highly successful way.

Selena

A HISTORY OF MANDALAS The lesson began with a Pow-

erPoint presentation to introduce the art of the mandala to my students. “Mandala” is the Sanskrit word for “circle,” and typically comes from the Buddhist and Hindu religions. Nonetheless, the mandala can also be traced back to Jewish, Christian and Islamic religions as well. The mandala, or circle, can represent wholeness, unity, nature or god and is

Meredith

Miadora

LEARNING OBJECTIVES Middle-school students will … • become familiar with the history and culture of mandalas. • demonstrate an understanding of how balance and rhythm create interesting designs. • demonstrate an understanding of colored pencil techniques. t

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.

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Mandala usually regarded in a meditative or spiritual way. We examined and compared mandalas across several different cultures and media. We then watched a time-lapse video of a group of monks creating a mandala with painted sand. After working collaboratively over many hours and several days, the intricately beautiful design was destroyed, gathered and returned to nature where it was found. THE DESIGN Students begin with a pie-shaped paper that

will be one-eighth the size of the finished circle. Make sure they understand how the piece will fit into the whole and that shapes and lines that go off the sides will create a more interesting design. I provided many examples for the students to look at for inspiration, taking special note of how the use of the design principles of balance and rhythm contribute to a successful design. We discussed how to use positive and negative space, organic vs. geometric shapes, as well as how to incorporate symbols into the artwork. When students have completed the layout, the design should be traced exactly onto the back using a light table

Aidan

or window. It is crucial that the design perfectly lines up on both sides and that the pencil lines are dark so the transfer process will be a success. Next, students lay the piece onto a 12" x 12" piece of white drawing paper with the point touching the center of the page. It is important to trace over the lines carefully and when finished, flip the pie piece over and trace the design again. This process will repeat eight times until the mandala is complete. Students can then redraw the finished design with Sharpie and fix any disconnected lines that may be present. COLOR CONNECTIONS The next phase of the mandala was

all about the color. We reviewed different color schemes and evaluated the color choices of mandalas across several cultures. I also provided demonstrations for optimal colored pencil work, like blending, shading and creating new color combinations. Students were required to use some type of color scheme within the mandala or at least within certain parts of the design. Whatever the individual decided, the color needed to maintain the symmetrical balance and rhythm of the artwork. EVALUATION The mandalas provided a great opportunity for critique within the class. Students could identify the different types of balance and symmetry, the various color schemes used, as well as rhythm, emphasis and use of space. As a fun concluding activity, I played calming ambient music and students meditated on their designs while focusing on the concept of wholeness or unity. n Cecilia

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

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ALIVE

and kicking

ow! What an incredible experience this project led to! Last spring, I introduced my thirdgraders to the work of San Diego abstractionist, Santos Orellana. He is originally from Honduras, moved to New York City to study chemistry, and moved out to San Diego to be a part of the biotech industry. Only then, in San Diego, did he become focused on visual art. I see a mix of Keith Haring, Joan Miró, and the Mayan glyphs from his native country when I look at his work. To me, there is an unconscious flow and dance of line that is unique to his paintings, murals and furniture designs. You may see other things or connections in it, and this is one of the big ideas I try to get across to my students. Abstract art lends itself to multiple readings or interpretations, depending on your personal experiences. The cool thing is, all of those reads are valid when you support them with evidence.

by Don Masse

MY STUDENTS AND I LOOKED at a series of paintings by Santos, entitled “Alfabetismo,” which are camouflaged letters from the alphabet. Santos did this collection of work because he feels

Local Love

Santos took time to answer the students’ questions about his work and inspiration.

After the mural was completed, many students have interacted with it by tracing the maze of lines with their fingers.

Classes toured the mural as Santos worked and watched as he created the bold linework of the mural.

Role-model fifth-graders assisted Santos in painting the background of the new mural he created on our campus. 16

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Using wet-on-wet painting techniques, students created freeform watercolor backgrounds. Once these dried, crayon lines were added on top.

Students were encouraged to flip and rotate letters to hide them in their final designs.

LEARNING OBJECTIVES Elementary students will … • develop an artistic image by brainstorming, sketching, reflecting and sharing, and creating. • experiment with creating abstract art. • identify the main idea (the hidden word) in an artwork and share their thoughts about the creative process they went through with the lesson.

that a strong education is one of the most important elements necessary for the success of a child. While looking at his work, students noticed the bold lines that Santos uses to create contrast from the background of his paintings. They also saw how the painting of the background did not match or “fill in” the shapes created with those lines in the foreground. We discussed how he added lines and patterns to “abstract” the central letter of each painting. The hands-on portion of the piece got started by experimenting with watercolor techniques for the fields of color in the background. I demonstrated how to use more or less water to create different color values and how to apply wet on wet to make

NATIONAL ART STANDARDS

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CREATING: Elaborate on an imaginative idea. RESPONDING: Determine messages communicated by an image.

MATERIALS

• • •

Practice paper, 9" x 12" watercolor paper Watercolor paint, paintbrushes, water bowls Pencils, black crayons or oil pastels

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Students sketched possible compositions before moving on to their final pieces.

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different color mixes. I limited their color choices to cools to reinforce a sense of unity in their backgrounds. After painting, students set the papers aside and brainstormed things that were important to the success of a child. They shared those ideas with one another and created three sketches using words from the brainstormed list. I encouraged flipping, rotating, changing between upper and lowercase as they added words to sketches. They added more lines afterwards to break up their compositions further. When they made a decision on which sketch to move forward with, students wrote a sentence explaining their choice. The next step of the project was to take a black crayon and lightly write their word, draw their lines, directly on their painted paper. They then went back in and made their lines darker and wider. To wrap things up, students shared their paintings with one another and tried to discover the word in each other’s work. They then partner-shared with someone and explained why they chose that particular word and what the most challenging part of the project was for them. I love these conversations! see

LOCAL

on page 44 17

by Gary Kohl

was trying to think of a fun and different way to approach the themes of shape, line and form. I also knew my sixthgraders were approaching a social-studies unit exploring First Nations in different parts of North America. I recalled how much fun I had had years ago when I used to teach a unit on the same theme, and how my students loved the crafts and the masks we made. Reviewing my inventor y of art supplies, I discovered we had ever ything we would need. The social-studies teacher shared my enthusiasm for cross-curricular learning, and the students were looking for ward to their maskmaking classes. We would focus on masks from the Pacific Northwest Coast, specifically from northern British Columbia, south to Washington State. The Haida and other coastal groups would be our inspiration. Their distinct styles allow for the varied use of line, shape and form. We would bring in sculptural components as well, as I encouraged students to include protruding noses, lips, ears and more, rather than just painting these on.

Once the underlying forms were all shaped and secured, plaster squares were wetted and placed over the surface to create a smooth surface. Some students with ver y long beaks were given strips of Serena paper towel, along with a half glue/half water mixture to brush onto the towel. This was not as heavy as the plaster, so the beaks were less likely to bend or break, and they would retain their form better. THE PLASTER DRIED QUICKLY and was ver y firm. The stu-

dents were surprised how hard the soggy and wet paper towel became. The plaster allows students to pack strips together to form heavy eyebrows or to enlarge lips, or

THE STUDENTS SKETCHED MASKS from side and front views

in their drawing journals, and noted their choices from the limited palette of traditional colors: red, yellow, black and white. Because more modern masks incorporate colors that were not available in the past, green and blue were also allowed. In their journals, students also noted definitions for the terms we were using, as well as variations, such as straight or curved lines. We discussed and drew traditional Northwest Coast shapes: the ovoid, the u-shape and the split-u. I showed them how these basic shapes could be found in all masks, with sometimes minor variations to create the lines they wanted. For armatures, students chose from small, medium and large aluminum roasting pans, and I showed them how to bend them into spherical shapes. Basically, we wanted them rounded, like faces were. Because the aluminum stayed put as it was bent, some students were already able to shape noses or ears at this stage. We rolled newspaper and taped it down securely to form large lips, big eyebrows, larger noses, or anything else their masks needed. Students inspired by raven-style masks or eagle-shaped faces folded heavy cardboard to make longer and edgier beaks. These too were secured with masking tape. 18

Students (in this case, Nikki) sketched masks in their drawing journals, noting their color choices. They also noted the terms we were using, as well as traditional Northwest Coast shapes: the ovoid, the u-shape and the split-u.

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LEARNING OBJECTIVES

NATIONAL ART STANDARDS

Upper-elementary/middle-school students will … • learn about line, shape, and form • learn about three-dimensional form and design • learn about North American art and culture • create three-dimensional sculpture • learn how to make lines, edges, and shapes with paints • learn and consider facial proportions and their artistic alterations

• • • •

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

• • • • • •

Aluminum baking trays (small to large) Newspaper, paper towels Masking tape, white glue Plaster bandage strips or squares Acrylic paints (red, white, yellow, black, blue, green), paintbrushes Raffia, fake fur, wool, excelsior, etc.

Ashley Crystal

similar, especially if their rolled newspaper proved too hollow or too thin. We left the plastered and glued masks to dry overnight (if really thick, plan to leave over a weekend). The following class, students looked back at their sketches and began to apply paints. We used acrylics, as they were bold, dried quickly, and didn’t run into each other easily. I reminded students that we would have two or three classes to paint, as I wanted them to consider which lines touched others, which might act as a base, or similar. This was to tr y to ensure that colors wouldn’t blend or students wouldn’t tr y to paint one color on top of another until thoroughly dr y. The last step involved the optional application of raffia, fake fur, wool, excelsior or shredded paper as hair, fur, and so on. These additions were glued on and left to dry. We displayed the masks in the school hallway and, immediately, the feedback was great—everyone loved looking at these unique and eye-catching masks. n

Joelle

Gary Kohl teaches visual art and English at Unionville Montessori School in Markham, Ontario, Canada. www.ar tsandactivities.com

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Sakura Season in the Art Grades 3–5

o prepare for this third- through fifth-grade art project, I made a poster with pictures found through a Google image search for “Japanese cherry blossom paintings.” During the search, I realized that art-appreciation could easily be added to this lesson, as there are abundant sources of images on the Internet. A number of Japanese artists have painted pictures featuring cherry blossoms, including Utagawa (Ando) – – Hiroshige, Kitao Shigemasa, and Suzuki Shonen. Adding background information at the start of a lesson can enhance learning. I shared a number of facts—in Japan, cherry blossoms are called “Sakura,” and during the early 1900s, the people of Japan sent over 3,000 trees to Washington, D.C., as a gift to our country. Two related books that are great to read to students are Eliza’s Cherry Trees: Japan’s Gift to America by Andrea Griffing Zimmerman and Ju-Hong Chen (Pelican Publishing; 2011), and Japanese Celebrations: Cherry Blossoms, Lanterns and Stars! by Betty Reynolds (Tuttle Publishing; 2006). AFTER A BRIEF DEMONSTRATION of techniques we would

be using to create our cherry trees, the art making began. First, using a plastic lid, we traced a small circle on our papers for a sun or moon. The circle was left white or painted in with yellow glitter paint. Blue and violet watercolor paint was used to create a sky by alternating the colors from the top to the bottom.

Students put great thought into creating their trees.

(Tip: Some students left the lids on their papers for this step, to prevent paint from getting into their suns/moons.) Tree trunks were then painted with brown watercolor, with students carefully adding a bit of extra paint to the trunks, which was used in the next step: The extra paint was blown through cut soda straws to create smaller branches reaching up and out from the trunks. (Tip: In their enthusiasm, some students may forget to stop and take a break to avoid getting dizzy!) The paintings were then allowed to dry. The cherry blossoms came next, which were painted with pink tempera. Students added the blossoms’ stamens with red markers after their blossoms’ paint dried. As a final touch, students were shown the Japanese (kanji) character for “Sakura” and other words, which they could paint or draw with thin markers along a lower side of their paintings, if they desired. As an alternative, black ink pads and rubber stamps of Japanese or Chinese characters could be used instead. When students first saw the sample I made, they could not wait to try it themselves. They really got a kick out of using the straws to blow paint into branches. The were pleased with and proud of the outcome of their hard work. In fact, several parents have told me that they framed their child’s picture. It’s always so nice to hear about the appreciation of our young student artists’ work. n Suzanne Dionne is a visual art teacher at Rotella Interdistrict Magnet School in Waterbury, Connecticut. LEARNING OBJECTIVES Elementary students will ... • view artwork by Japanese artists who have painted cherry blossoms. • learn the historical significance of cherry blossom trees in Japan and America. • use different techniques and media to create artwork.

NATIONAL ART STANDARDS

• CREATING:

Create personally satisfying artwork using a variety of artistic processes and materials. • Explore and invent art-making techniques and approaches. • Experiment and develop skills in multiple art-making techniques and approaches. •

MATERIALS

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5.5" x 15" watercolor paper Concentrated brown, blue and violet watercolor paint

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Pink tempera paint, yellow glitter paint • Paintbrushes, straws, red markers

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Room

by Suzanne Dionne

Julissa

> >

Mya

Go to artsandactivities.com and click on this button for resources related to this article. Utagawa Hiroshige (Japanese; 1797–1858). Cherry Blossom Time at Naka-no-chô in the Yoshiwara, from the series Famous Places in Edo, c. 1839–1842. Woodblock print: ink and color on paper; 9.125" x 14.187". Museum of Fine Arts, Boston. Artwork is in the public domain.

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Pre-K

ooking out our art room windows during spring, one can observe the stunning Japanese cherry trees in blossom. At the start of the lesson, the Japanese word for cherry blossoms “Sakura” can be introduced. Students can look at pictures and discuss how the images are different from the real object—the actual flowers. They can also take part in art appreciation by looking at artwork by Japanese artists and talking about it. For this pre-kindergarten painting, which took two halfhour classes to complete, we used heavy paper with a printed design. Tables were covered and materials are ready. Watercolor paint is put into small cups. Tempera paint is poured out onto small paper plates. Pairs of students share the paint. Using the Smart Board and projector, students receive a step-by-step demonstration. First, a tree trunk is made by painting one thick

vertical line with concentrated brown watercolor paint. Smaller branches are added by painting V-shaped lines. Very fine brushes work best, due to fine motor skill development, otherwise, branches become too large. We are able to look outside at the trees and discuss the size of the leaves and flowers. Green tempera paint is used for leaves and grass and again, applied with very small brushes. Pink flowers are made by using applicator sticks. Students can also obser ve some real blossoms, handson, before starting the class. How about some music to listen to while working? Sakura Sakura, also known simply as Sakura, is a traditional Japanese folk song portraying spring, the season of cherr y blossoms. These paintings came out very well for children who are only 4 years old, don’t you think? It took approximately two half-hour classes to complete this lesson. n Suzanne Dionne is a visual art teacher at Rotella Interdistrict Magnet School in Waterbury, Connecticut. LEARNING OBJECTIVES Pre-K students will ... • use observation to learn about cherry trees and blossoms. • learn how to paint with a variety of materials. • learn how an image is different from a real object.

NATIONAL ART STANDARDS

•

Sarah Aubrey Logan

> >

CREATING: • Engage in self-directed, creative making. • Use a variety of art-making tools. • Share materials with others. • Create and tell about art that communicates a story about a familiar place/object. • RESPONDING: Distinguish between images and real objects. • CONNECTING: Recognize that people make art.

MATERIALS

• • • • •

Japanese character (kanji) for “Sakura.”

Small paper Concentrated brown watercolor paint Green and pink tempera paint Applicator sticks, paintbrushes Paint cups, paper plates

Two books that are great to read to students are Eliza’s Cherry Trees: Japan’s Gift to America, by Andrea Griffing Zimmerman and Ju-Hong Chen (Pelican Publishing; 2011), and Japanese Celebrations: Cherry Blossoms, Lanterns and Stars! by Betty Reynolds (Tuttle Publishing; 2006).

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A&A Art Print: Respond and Connect Paul Gauguin. The Meal, 1891

“ A bit of advice, don’t copy nature too closely. Art is an abstraction; as you dream amid nature, extrapolate art from it and concentrate on what you will create as a result.” Paul Gauguin *

MAIN VISUAL ART CONCEPTS: Composition

ART TECHNIQUES: Painting with a Limited Palette and Analogous Colors

•

BOTANY: The bananas depicted by Gauguin are not the yellow variety some might expect. These reddish “Fe’i bananas” are found primarily in the Pacific islands. They are very nutritious, containing up to 200 times more Vitamin A than the common yellow banana. They can be eaten raw, but are often roasted or boiled before eating.

DESIGN THINKING: Horizontal tableau. This composition is full of horizontal (or near-horizontal) design elements, mixed with oval shapes. Gauguin keeps the eye moving to the background through ovals of decreasing size until we notice the figure kneeling in the next room.

• Still Life • Space • Form • Harmony • Unity

ART HISTORY: Gauguin painted this piece in Tahiti within the first months of his 1891 arrival. At the time, most of the people there did not sit at tables to eat. On the table is a mixture of objects, some from Tahitian sources (bananas, guavas) and others from Europe (the porcelain bowl). It seems the people are more like still life objects than humans in this painting.

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• •

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AGRICULTURE: Our “Cavendish” (common yellow) bananas are going extinct due to a fungus called Panama disease. Read all about efforts to contain this problem that threatens crops worldwide.

ART AS A CAREER: Paul Gauguin started out as a stockbroker in Paris at age 25, but became fascinated with painting. By the time he was 35, he decided he would paint full time.

•

Wherever you see this symbol, it means there are resources related to this article available online. Visit artsandactivities.com and click on this button to explore these topics further. www.ar tsandactivities.com

CULINARY SCIENCE: Surrounding the knife are three whole guavas on the left and one partial guava on the right. Guavas are a very common tropical fruit, often eaten raw or squeezed for juice. The pectin in guavas can be used to thicken jellies and jams.

ART CONSERVATION: Gauguin painted this piece with oil paint on paper, which is an unusual, but acceptable method as long as the paper is first treated with gesso. To better preserve the work, it was glued onto a piece of canvas.

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•

SYMBOLISM: In European still-life painting from the 16th and 17th centuries, the knife seems to serve several uses. It might be a symbol of human mortality or can accentuate the illusion of depth. Gauguin may have been poking fun at conventional European artistic practices he left behind when he moved, alone, to Tahiti.

OBSERVATION AND INQUIRY: Compare Gauguin’s piece to Vincent van Gogh’s The Potato Eaters. How are they similar, and how are they different?

* From a letter to Émile Schuffenecker

JANUARY 2017

Paul Gauguin (French; 1848–1903). The Meal, 1891. Oil on paper glued on canvas; 28.74" x 36.22". Musée d'Orsay, Paris, France. Public domain.

In the Studio: Create and Present Annotations and lessons on these pages by Tara Cady Sartorius, Program Director, Alabama Alliance for Arts Education

GRADES K–6

GRADES 7–12

A SIMPLE BOWL OF FRUIT ON THE TABLE. What delicious

THE PIECE BELOW VISUALLY CONNECTS to Paul Gauguin’s

bounty! The fifth-grade students who made these works had multiple challenges: 1. Create a corner with depth, including shadows and reflected light. 2. Draw a basket with a wicker-like appearance that sits convincingly on the table showing both interior and exterior space. 3. Depict fruit that has believable form and weight. 4. Cut out and assemble all the elements in a pleasing and inviting composition.

painting, The Meal, in several ways: • The earth-tones throughout • The figure in the adjacent room • The large object on the table • A small element (the single red flower) leading our eye deeper into the space • Crisp folds in overlapping white tablecloths

Fernand Khnopff (Belgian; 1858–1921). Hortensia, 1884. Oil on canvas; 18.8" x 23.5". The Metropolitan Museum of Art. Purchase, Bequest of Julia W. Emmons, by exchange, and Catharine Lorillard Wolfe Collection, Wolfe Fund, and Promised Gift of Charles Hack and the Hearn Family Trust, 2015. Artwork is in the Public Domain.

Many exercises for older students include drawing complicated folds of lush fabrics. But when cloth simply lies nearly flat on a table, how does one convey the “clothy-ness” of it? Set up a still life in your classroom with flattened white fabrics overlapping each other. It will be a great exercise for your students to learn to paint or draw the subtleties. It might help to take some simple black and white photos of your own, strongly-lit arrangement so students might get a better sense of the values in their drawings.

Art by fifth-grade students of Natasha Hahn at Meadowlark School, Kearney, Neb. The strokes of crayon and oil pastel in the background enliven the space. The contrast of colors between the walls and the table help the baskets of fruit pop forward. The shading and highlights on the fruit add form to some of the otherwise flattened organic shapes. These pieces are lovely examples of innocence on the verge of self-expression.

NATIONAL ART STANDARDS: Grades K–6 CREATE: Combine ideas to generate an innovative idea for art-making. CREATE: Experiment and develop skills in multiple art-making techniques and approaches through practice.

Details from Hortensia (top) and The Meal.

NATIONAL ART STANDARDS: Grades 7–12 How to to use use the the A&A A&A Monthly Monthly Art Art Print: Print: Carefully Carefully unbend unbend the the staples staples at at the the How center of of the the magazine, magazine, pull pull the the print print up up and and out out of of the the magazine. magazine. center Rebend staples staples to to keep keep magazine magazine intact. intact. Laminate Laminate the the pulled-out pulled-out section section Rebend and use use itit as as aa resource resource in in your your art art room. room. — — Editor Editor and

CREATE: Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design. CONNECT: Describe how knowledge of culture, traditions, and history may influence personal responses to art.

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artful INCLUSION

When finished, each rainstick was unique.

by Rocky Tomascoff

he students I teach range from 5 to 15 years of age. It is a multi-impaired population; the students have varying degrees of vision, as well as other cognitive, language and fine motor limitations. I try to incorporate sound into my art-room projects, especially for the totally blind students. I decided making rainsticks would involve a multi-step process that incorporated basic hand skills and concepts, and was also a useful and fun end product. It was a perfect task for helping to understand the sequence of a project. There are clear steps, each with a visual, textural and auditory component to help with the concept of the project as a whole. We began by talking about rainsticks: What was their history? Where are they from? Who uses them? I also shared an example of a rainstick, made from bamboo that had seeds inside. For our version, we used cardboard mailing tubes that had plastic end caps. Given the wide range of cognitive ability, the first step was to have the students identify the tubes. What LEARNING OBJECTIVES Students will ... • learn about rainsticks. • understand the visual arts in relation to cultures. • understand the sequencing of a task. • make independent choices. • strengthen hand skills and concepts. • make connections between visual arts and other disciplines. • experience personal satisfaction and appreciation of others.

NATIONAL ART STANDARDS

• •

CREATING: Conceiving and developing artistic ideas and work. CONNECTING: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• • • •

Cardboard mailing tubes with end caps, tape, glue Flat-head nails of varying sizes, rubber and wooden mallets Beads, seeds, small shells, dried beans, uncooked rice, etc. Decorative/textured papers, fabric, feathers, string, etc.

For some it became a math lesson: How many holes are there? How many nails are needed? It was also an excellent task for having one hand stabilize an object while the other hand manipulates the tool.

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were they? What is it made out of? What is the shape? We then went over the basic tools needed: nails and rubber wooden mallets. Depending on the abilities of individual students, some could independently hammer the nails into the tube once the holes were pre-made. For others, we would start the nails and they would finish hammering, with or without staff assistance. The nails were hammered into the tube at all different angles. This is an excellent task for having one hand stabilize an object (the tube) while the other hand manipulates the tool (the mallet). For some it became a math lesson: How many holes are there? How many nails do you need? Students also worked on differentiating nail sizes. For example: “Please hand me a long, skinny nail” or “Please count out 10 nails.” Once all the nails were driven into the tubes, and we capped one end of our tubes, it was time for the “sound part” of the project. We discussed how rain makes both “loud” and “soft” sounds, and that we were going to put things inside our rainsticks to simulate these sounds. Each student was offered a choice of two or three soundmakers. Clay beads, for example, would make a loud sound, while rice would create a softer sound. Students used scoops or their hands to fill their rainsticks about half full. There was nothing exact about this part, as some students used more and some less, depending on the sound they preferred. We then discussed why we needed to cap one end of the rainstick, and did so. The next step was to decorate our rainsticks with paper, tape, fabric, feathers, string and more. Each finished rainstick was unique; they all sounded, looked and felt different. We experimented with ways to make sound with them—rolling them on a table, tilting them very slowly, and shaking them in the air. Everyone enjoyed listening to the different sounds produced. In the end, all of the students were able to participate in this project. In fact, we created our own rainstick orchestra, made up of very individual musical instruments, which were fun to look at, hold and to play. n Rocky Tomascoff teaches art at Perkins School for the Blind in Watertown, Massachusetts. 27

Calligraphy

THE ART OF

by Hugh Petersen

his project takes patience and practice, yet it is one that my eighth-grade students take pride in. It’s hard for me to display them because the kids really want to take their work home. It may be because they get to pick something personal to write. Calligraphy means “beautiful writing.” In the Arabic and Chinese cultures, calligraphy is the highest art form and is as highly revered as painting. This art of beautiful, stylized lettering is done with a brush and ink, or a pen, and has existed for centuries. The idea I had for this project was big. That is, students would be creating the biggest calligraphy letters they could, in order to show off their lettering skills. The project was to be like a poster. To do this, we used a calligraphy pen with a large nib width. We used calligraphy markers with a 5mm mini-chisel tip nib. (The width of the nib determines the height space of the letter.)

garten or first grade. “The lines helped you to be consistent as you practiced your letters, making sure they were the height, width and shape,” I said, adding that they would be making their own lined paper to practice their calligrapy letters in the same manner. For beginning calligraphists, I like to use the Chancery Script lettering style. The space you need for the height of your guidelines for this style of letter is five widths of the chisel pen point (see diagram). Once you know this measurement, you need to draw a guideline paper for practicing your calligraphy. I like to draw this out on to a piece of computer paper using a thin black marker as a template and then photocopy a bunch of copies. There are four guidelines needed for writing out calligraphy letters and each of the guidelines has a name. Starting from the top and going down, the top line is called the

AFTER A BRIEF INTRODUCTION to the histor y of calligraphy, I asked students if they remembered when they learned to write their letters on lined paper when they were in kinder-

LEARNING OBJECTIVES Middle-school students will … • be introduced to the art of calligraphy. • learn how to use a calligraphy pen. • write a passage of text in the Chancery Script lettering style. • create a drawing that illustrates their calligraphy passage.

NATIONAL ART STANDARDS

• •

CREATING: Conceiving and developing artistic ideas and work. RESPONDING: Understanding and evaluating how the arts convey meaning. • CONNECTING: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• •

Calligraphy Marker Lined practice paper

ASCENDER LINE WAISTLINE BASELINE DESCENDER LINE

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Color pencils White roll paper

D E S

5x the width of the nib

The line space for Chancery is five times the width of the pen’s nib. 28

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BEAUTIFUL WRITING

Example of an “ijazah.” Thuluth and naskh script; 8.3" x 11". Written by 'Ali Ra'if Efendi in the year 1206 (Islamic calendar)/1791 (Gregorian). Library of Congress, African and Middle Eastern Division. Artwork is in the public domain.

Chinese-style Quatrain in Fivecharacter Phrases, calligraphy by Watanabe Kazan (1793-1841). Edo period, 19th century, ink on paper. Tokyo National Museum. Artwork is in the public domain.

“ascender” line, the next line is called the “waistline,” then the “baseline,” and finally, the “descender” line (see diagram). I show demonstrations on how to hold the pen and to do the letter strokes. I give each student a packet that contains a copy of the Chancery Script letters in upper and lower case. The Internet is a great source to find different lettering styles. The packet contains plenty of practice line paper to get them started. Practice is the key to try and have your letters look uniformed. Besides practicing their lettering, I show the students samples of past calligraphy projects, which helps them to begin thinking about what they want to write. They usually pick a song lyric, poem, or a famous quote, but as they pick out their writing they need to think about a drawing that represents their writing. This drawing will be added to their calligraphy poster.

Once the students are confident in writing their letters, they then have to practice writing their words. When writing words, the thing to remember is tr y writing the letters as close as possible without touching, and the space between the words is the size of a lowercase “o.” I have the students write out their entire writing on the practice line paper. They may have to tape line papers together to fit all their writing. The paper I use for the final project is white roll paper. I use this paper because I can tear off the size the student needs, and it is adequately transparent. The student places their final practice writing under the white roll paper and traces over the words. I like this method because students don’t have to draw and erase the lines on their final paper. To finish their project, students need to add their drawing, which really enhances their lettering. Color pencils work best for this because students can control the darkness of their coloring so they can still see the lettering. The result is a personalized poster that each student is anxious to take home and display on his or her bedroom wall. n

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Hugh Petersen taught ar t at Phoenix Middle School in Delavan, Wisconsin.

januar y 2017

media reviews Save Money Save Time Save your Brushes!

MADE IN THE USA

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KID ARTISTS: True Tales of Childhood from Creative Legends, by David Stabler, illustrated by Doogie Horner. Quirk Books, $13.95. How many kids’ biographical art books include such disparate artists as Yoko Ono, Charles Schulz, Dr. Seuss, and eccentric Emily Carr? The world of art is eclectic indeed, providing author Stabler with 17 wellknown subjects who experienced a diversity of childhoods. They were underprivileged, bullied, or emotionally troubled. Orphaned or injured. Transients or ill. Despite or perhaps because of their difficulties, they grew up to have an effect, to become significant. A few of Stabler’s choices strain credibility regarding their hardships. Beatrix Potter enjoyed prosperity; Claude Monet and Pablo Picasso were merely undisciplined. Still, they are models for today’s children. For example, Georgia O’Keeffe was “different.”

AUDIOVISUAL BOOK/PRINT Jerome J. Hausman • Paula Guhin

Part One tells of artists motivated by the universal theme of nature. In the second portion are those who faced “hard knocks.” The luminaries in Part Three were mentored. The 8” x 6” hardcover is best for kids in grades three through six, especially youngsters who dislike school, or are disabled, persecuted, or misunderstood. And who doesn’t feel lonely sometimes?–P.G. MICHELANGELO FOR KIDS: His Life and Ideas with 21 Activities, by Simonetta Carr. Chicago Review Press, $18.99. What a challenge! Simonetta Carr chose as her subject a man who obscured, altered, and embellished many facts of his own life. Yet the former elementar y school teacher writes proficiently and with extensive detail. The massive amount of knowledge in this trade paperback will fascinate even those far older than four thgraders, although it’s meant for ages 9 and up. (Some of the written material is rather advanced for younger students.) But Italophiles in par ticular will soak it all up. Some of the children’s projects seem more suitable for home use than the classroom, and at least two require adult super vision. Ar t teachers may already be ver y familiar with several of them. There are both twoand three-dimensional activities that are good choices for interdisciplinar y education, especially in science and technology. Of the many outstanding photographs and illustrations, 50 are in full color. End material includes over four pages of chapter notes and a list of key historical figures. To enhance your lessons even more, tr y out the suggested resources for further exploration.–P.G.

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shop talk

BLICK ART MATERIALS A reference resource for the classroom, these 12 high-quality Crystal Productions images—available through Blick Art Materials—introduce students to art from different cultures. The Folk Art set, shown above, provides a visual overview of folk art from around the world, including African, Mexican, Indian and European, American, and others.

AMACO American Art Clay Co.’s Multi-Cultural Texture Molds explore various cultures through historical symbolism and imagery. To use the 9" x 11" x 1" molds, simply roll clay, press slab of clay onto mold. Remove from mold, shape, then fire. The Aboriginal mold seen above has designs inspired by the shapes and symbols seen in Aboriginal art. Also available: East Asian, Islamic, Pre-Columbian.

TRIARCO The 2017 Triarco® Arts & Crafts catalog offers an array of products that will perform for you and keep you within your budget. Since 1946, Triarco® has established the tradition and reputation of providing quality merchandise at competitive pricing and having pride in customer service. For your free copy of the 2017 catalog, call (800) 328-3360 or order online at eTriarco.com.

www.dickblick.com

www.amaco.com

www.etriarco.com

A paint for every palette...

All Handy Art ® products are proudly made in the USA

Quality products, reliable service since 1974. www.ar tsandactivities.com

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Check out our catalog and vendors page online! www.handyart.com 31

When Precision Matters

Midwest Products Educational Class Packs Designed to enhance a student’s creativity & involvment in the classroom

•Designed for the classroom •Used in academic competitions

•Features Midwest’s renowned wood •Makes learning and teaching fun!

Kit Varieties Include: Aviation

Structures

Racing visit www.midwestproducts.com/pages/art-material-retailer for more information about available classroom packs and project ideas

312.372.3960 | www.saundersmidwest.com | Chicago,IL

Buyer’s Guide 2017 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!

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

Art New England Workshops 617-250-1040 www.artnewengland.com SH

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

The Art of Education www.theartofed.com SH

American Educational Products LLC 800-289-9299 www.amep.com BR CE CY DE DG DR EP PC PR PT 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

Artograph, Inc. 888-975-9555 www.artograph.com AV DG DR FD FN HC JM PH Artrage www.artrage.com GR Arts Attack 888-760-ARTS www.artsattack.com AV Art Shop Therapy 612-234-5013 www.artshoptherapy.com AV PB Artsonia 800-869-9974 www.artsonia.com AV DE SH

Armory Art Center 561-832-1776 www.armoryart.org CE DG JM SP

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 Baltimore Clayworks 410-578-1919 www.baltimoreclayworks.org CE SH Bamboo Tools 604-723-2900 www.bambootools.com BR CE CT Belvedere Ceramic Arts 970-264-1049 www.belvedereceramicarts.com SH

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

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

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

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

Arrowmont Sch. of Arts/Crafts 865-436-5860 www.arrowmont.org SH

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

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

Art Boards 800-546-7985 www.art-boards.com EP FN PR

Art Trek 415-868-9558 www.arttreks.com SH

Arnold Grummer’s Paper Making 800-453-1485 www.arnoldgrummer.com HC RS

The Art & Creative Materials Inst www.acminet.org SH 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

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ArtWare By You 973-509-7736 www.artwareforgood.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

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 Bluebird Mfg. Inc. 970-484-3243 www.bluebird-mfg.com CE FN HC SP Boston Univ. School of Visual Arts 866-347-6876 www.bu.edu/cfa/visual-arts/ 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

Chroma Inc. 800-257-8278 www.chromaonline.com PT

Crayola 800-272-9652 www.crayola.com CY DG HC PT SP

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

Clay Mat 559-360-9770 www.claymat.com CE

Createx Colors 800-243-2712 www.createxcolors.com AB HC PT

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

Canson Inc. 800-628-9283 www.canson.com PC

Clay Planet 800-443-CLAY www.clay-planet.com CE FN PT SP

Creative Paperclay Co., Inc. 805-484-6648 www.paperclay.com CE SP

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

Carbondale Clay Center 970-963-2529 www.carbondaleclay.org CE SH

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

Cress Mfg. Co. 800-423-4584 www.cressmfg.com CE SP

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

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

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

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

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

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

The Color Wheel Co. 541-929-7526 www.colorwheelco.com AV HC PT

Chicago Canvas & Supply 773-478-5700 www.chicagocanvas.com DY FI

Columbus College of Art & Design www.ccad.edu SH

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

Faber-Castell USA 800-642-2288 www.faber-castellusa.com CY DG HC PS Fasteners4schools.com 800-876-9922 www.fasteners4schools.com AD CT HC

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

Faust Ink, Inc. 908-276-6555 www.faustink.com PR PT Fiskars 866-348-5661 www.fiskars.com CT HC Florida Clay Art Co. 407-330-1116 www.flclay.com AB CE HC RS SA SH SP

Debcor, Inc. 708-333-2191 CE FN

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

The Compleat Sculptor, Inc. 800-972-8578 www.sculpt.com AD CE DY HC JM SH SP

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

Concordia Univ. 888-628-9472 www.cuw.edu SH

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

Conrad Machine Co. 231-893-7455 www.conradmachine.com FN GR PR

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

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

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

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

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.corelearningonline.com/ CO GR PB Cornell Studio 937-454-0357 www.cornellstudiosupply.com CE Coyote Creek Productions 760-731-3184 www.coycreek.com AV

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

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

Earl Phelps Publishing 216-752-4938 www.phelpspublishing.com DG HC PB Earth Guild 800-327-8448 www.earthguild.com AD BR CA CT DY FI HC LO LT PT SA SP

Geil Kilns 714-847-6135 www.kilns.com CE SH Gelli Arts 800-580-4198 www.gelliarts.com HC PR

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

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

Elmer’s Products, Inc. 888-435-6377 www.elmers.com AD HC j a n u a r y 2 0 1 7 • 84 Y E A R S

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

Hemlocks Studio 828-885-2831 www.hemlocks.com SH

Getty Trust Publications 800-223-3431 www.getty.edu PB SH Giffin Tec Inc. 800-445-2997 www.giffingrip.com CE

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

Glue Dots Int’l (GDI) 888-688-7131 www.gluedots.com AD HC

Incredible Art Department www.incredibleart.org PB

Gold’s Artworks 800-356-2306 www.goldsartworks.20m.com PC 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 Groovy Tools LLC 502-859-5070 www.groovy-tools.com CE CT HC SH SP

H Handy Art 800-236-6873 www.handyart.com AD HC PR PT Harrisville Designs/Friendly Loom 800-338-9415 www.harrisville.com FI HC LO

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

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

Jones Publishing, Inc. 800-331-0038 www.jonespublishing.com CE HC PB JourneyEd 800-874-9001 www.journeyed.com CO DR GR

Kids Can Press 800-265-0885 www.kidscanpress.com DG PB PR PT SP KidsKards 888-543-7527 www.kidskards.com FD Klopfenstein Art Equipment 866-899-1899 www.klopfensteinart.com FN

Haystack Mountain School of Crafts 207-348-2306 www.haystack-mtn.org SH

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

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

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

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

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

Midlantic Clay 856-933-0022 www.midlanticclay.com CE

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Midwest Products 800-348-3497 www.midwestproducts.com AD CT HC SH

Laguna College of Art & Design 949-376-6000 www.lcad.edu SH

Minn. Coll. Art/Des. Rm M105 612-874-3765 www.mcad.edu SH

Laguna Clay Co. 800-452-4862 www.lagunaclay.com AB AD AV BR CE FN HC PT SA SP

Minnesota Clay USA 952-884-9101 www.mnclay.com AB BR CE SA SP

Leaning Post Productions 845-496-4709 www.leaningpost.com AV CO PB

MKM Pottery Tools 920-830-6860 www.mkmpotterytools.com CY FN HC SP

Lightfoot Ltd, Inc 951-693-5165 www.lightfootltd.com AV CO DG EP FN PC SA SH

Modern Art Museum of Ft. Worth 817-738-9215 www.themodern.org 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 L & L Kiln Mfg., Inc. 800-750-8350 www.hotkilns.com CE HC JM SG

J&J Display 800-347-2008 www.jjdisplay.com AD DE

Hash Inc. 360-750-0042 www.hash.com CO DG

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

Loew-Cornell, Inc. 201-836-7070 www.loew-cornell.com BR CE PT

M Madison Art Shop 732-961-2211 www.madisonartshop.com AB DG DR EP FR HC PC PR PT SP Makit Products Inc. 972-709-1579 www.makit.com FD HC PC PH Martin/F. Weber 215-677-5600 www.weberart.com AV BR DG EP PB PC PS PT SH Maryland Inst. College of Art 410-225-2300 www.mica.edu SH Marywood University 570-348-6207 www.marywood.edu 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 Muddy Elbows 316-281-9132 www.soldnerequipment.com CE SP

N 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

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

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

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

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

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

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

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 Picasso People 716-684-0244 www.picassopeople.com SH PMC Connection 866-762-2529 www.pmcconnection.com BR HC JM Polyform Products 847-427-0020 www.sculpey.com CE HC SP Popular Ceramics 715-445-5000 www.jonespublishing.com CE

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

Sanford Corp. 800-323-0749 www.newellrubbermaid.com BR CA CY DG DR PS PT

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

Quarry Books www.quarrybooks.com PB

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

Quarto Publishing www.quartoknows.com PB

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

Quinlan Visual Arts Center 770-536-2575 www.quinlanartscenter.org DE SH

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

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

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

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

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

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

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

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

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

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

Sheffield Pottery 888-774-2529 www.sheffield-pottery.com BR CE SA

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

Sierra Nevada College 775-831-7799 www.sierranevada.edu/workshops SH Silver Brush, Ltd 609-443-4900 www.silverbrush.com BR

Roylco 800-362-8656 www.roylco.com HC

Silvergraphics Studio 866-366-5700 www.silvergraphics.com FD GR

Runyan Pottery Supply, Inc. 810-687-4500 www.runyanpotterysupply.com AB AD BR CE CT DS FN HC RS SA SH SP

Skidmore College Summer 6 518-580-5052 www.skidmore.edu SH

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

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

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Shimpo Ceramics 800-237-7079 www.shimpoceramics.com CE HC SH

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

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

Testors Corp. www.testors.com AB BR PT

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 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

Trinity Ceramic Supply 214-631-0540 www.trinityceramic.com CE Truro Center for the Arts 508-349-7511 www.castlehill.org 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

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

Tandy Leather Factory 817-872-3200 www.tandyleatherfactory.com HC LT

U.S. Artquest, Inc. 517-522-6225 www.usartquest.com AD BR HC RS

Taos Art School 575-758-0350 www.taosartschool.org SH

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

Tara Materials 800-241-8129 www.taramaterials.com BR FR PC PH PT

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

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

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

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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

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

www.ar tsandactivities.com

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

januar y 2017

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 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. 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 Midwest Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Runyan Pottery Supply, Inc. 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 AMEP-Crystal Productions 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 Getting To Know, Inc. Great Lakes Clay Jack Richeson & Co, Inc. 37

Laguna Clay Co. 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. American Educational Products LLC Armada Art, Inc. Artisan Art Supplies Wholesale Bailey Ceramic Supply Bamboo Tools BigCeramicStore.com Blick Art Materials Ceramic Supply Chicago ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Discount School Supply Earth Guild Ed Hoy’s International 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 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. 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. American Educational Products LLC 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 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 Evenheat Kiln Florida Clay Art Co. Geil Kilns Giffin Tec Inc. Great Lakes Clay Groovy Tools LLC iLoveToCreate, Duncan Ent. Co. Jiffy Mixer Jones Publishing, Inc. Krueger Pottery, Inc. Laguna Clay 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. 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. 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.

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 Sakura of America Sanford 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.

(CT) CUTTING INSTRUMENTS AMACO/Brent American Ceramic Supply Co. Armada Art, Inc. Bamboo Tools Blick Art Materials Earth Guild Ed Hoy’s International Fasteners4schools.com Fiskars Groovy Tools LLC Inovart Inc. Midwest Products 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 American Educational Products LLC 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. Triarco Arts & Crafts, Inc. United Art and Education Winsor & Newton Witzend Workshop, LLC

(DR) DRAFTING American Educational Products LLC 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. 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. Jack Richeson & Co, Inc. Jacquard Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education

(DE) DISPLAYS Aftosa AMEP-Crystal Productions American Educational Products LLC Amon Carter Museum Artsonia Art Teacher on the Net Blick Art Materials Ed Hoy’s International Flourish Company Graphic Display Systems 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 American Educational Products LLC Ampersand Art Supply Armory Art Center Artograph, Inc. Art Supplies Wholesale Art Teacher on the Net Blick Art Materials ColArt Americas, Inc. Copic Markers Crayola Daler-Rowney, USA Discount School Supply Dixon Ticonderoga Co./Prang Phelps Publishing Faber-Castell USA General Pencil Co. Grafix Hash Inc. Inovart Inc. j a n u a r y 2 0 1 7 • 84 Y E A R S

(EP) EASELS/PALETTES American Educational Products LLC Art Boards Artisan Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Daler-Rowney, USA Discount School Supply Inovart Inc. Jack Richeson & Co, Inc.

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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 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 KidsKards Makit Products Inc. 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 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 United Art and Education Utrecht Mfg. Corp.

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(FR) FRAMES/MATS Artisan Art Supplies Wholesale Bags Unlimited Blick Art Materials 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 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. Carolina Clay Connection 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 Phelps Publishing Earth Guild Ed Hoy’s International Elmer’s Products, Inc. Faber-Castell USA Fasteners4schools.com Fiskars Florida Clay Art Co. Gelli Arts General Pencil Co. Glue Dots Int’l (GDI) Grafix Great Lakes Clay Groovy Tools LLC Handy Art Harrisville Designs/Friendly Loom iLoveToCreate, Duncan Ent. Co. Inovart Inc. Jack Richeson & Co, Inc.

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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. PMC Connection Polyform Products Rockland Colloid Royal & Langnickel Brush Mfg. Royalwood Ltd. Roylco Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Segmation Shimpo Ceramics Smooth-On, Inc. 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 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 AMEP-Crystal Productions 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. Phelps Publishing 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 Pottery Making Illustrated Quarry Books Quarto Publishing SRA/McGraw-Hill Visual Manna Watson Guptill Publications (PC) PAPER/CANVAS American Educational Products LLC Artisan Art Supplies Wholesale Blick Art Materials Canson 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 Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Renaissance Graphic Arts, Inc. Sargent Art Inc. Sax/School Specialty Scratch-Art Co., Inc. Speedball Art Products 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. Nasco Arts & Crafts Rockland Colloid Sax/School Specialty Tara Materials Triarco Arts & Crafts, Inc. Wacom Technology Corp. (PR) PRINTMAKING American Educational Products LLC Ampersand Art Supply Art Boards 39

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 Molly Hawkins’ House Nasco Arts & Crafts Oregon College of Art & Craft 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.

Kids Can Press Krylon Products Group Laguna Clay Co. Liquitex Artist Materials Loew-Cornell, Inc. Madison Art Shop Martin/F. Weber Mayco Colors 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 Tara Materials Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Visual Manna Wacom Technology Corp. Winsor & Newton

(PS) PASTELS Artisan Art Supplies Wholesale Art Teacher on the Net Blick Art Materials 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

(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.

(PT) PAINTS/PIGMENTS American Ceramic Supply Co. American Educational Products LLC Artisan Art Supplies Wholesale Art Teacher on the Net Axner Pottery Supply Blick Art Materials 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 Ed Hoy’s International Faust Ink, Inc. Golden Artist Colors Handy Art iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard Products Jiffy Mixer

(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 Delphi Ed Hoy’s International Jacquard Products L & L Kiln Mfg., Inc. Paragon Industries, L.P. 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 The Art & Creative Materials Inst 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 Florida Clay Art Co. Geil Kilns Getty Trust Publications Great Lakes Clay 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 Midwest Products 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 Coll. Art/Des. 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 Mtn. College of Art & Design Runyan Pottery Supply, Inc. Sakura of America Savannah College of Art & Design 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 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 Evenheat Kiln Florida Clay Art Co. Great Lakes Clay 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

Arts & Activities comprehensive directory of sources of art and craft supplies and equipment, schools, publications and services is 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! 40

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volume index

In every January and June issue, Arts & Activities magazine publishes a Volume Index. The Index lists, by category and author, the articles that ran 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 160, SEPTEMBER 2016–JANUARY 2017

ART APPRECIATION/ART HISTORY A&A Art Print: Autumn Foliage, Tom Thomson, Nov., p. 23 A&A Art Print: Bible Story, Lucy Mingo, Dec., p. 19 A&A Art Print: Wheatfield with Cypresses, Vincent van Gogh, Sept., p. 24 A&A Art Print: Young Hare, Albrecht Dürer, Oct., p. 23 A&A Art Print: The Meal, Paul Gauguin, Jan., p. 23 Introduction to the 2016-17 A&A Art Print Series, Sept., p. 22 A&A Study Print: The Drawing Lesson, Jan Steen, Sept., p. 45 A&A Study Print: Football Players, Albert Gleizes, Oct., p. 45 A&A Study Print: Tanoo, Queen Charlotte Island, Emily Carr, Jan., p. 45 A&A Study Print: Tapestry: Greenery, John Henry Deale for Morris & Co., Dec., p. 37 A&A Study Print: Winter: Cat on a Cushion, Theophile-Alexandre Steinlen, Nov., p. 37 A&A ART PRINTS Autumn Foliage, Tom Thomson, Nov., p. 23 Bible Story, Mingo, Lucy, Dec., p. 19 Introduction to the 2016–17 A&A Art Print Series, Sept., p. 22 The Meal, Paul Gauguin, Jan., p. 23 Wheatfield with Cypresses, Vincent van Gogh, Sept., p. 24 Young Hare, Albrecht Dürer, Oct., p. 23 A&A STUDY PRINT The Drawing Lesson, Jan Steen, Sept., p. 45 Football Players, Albert Gleizes, Oct., p. 45 Tanoo, Queen Charlotte Island, Emily Carr Jan., p. 45 Tapestry: Greenery, John Henry Deale for Morris & Co., Dec., p. 37 Winter: Cat on a Cushion, Theophile Alexandre Steinlen, Nov., p. 37 ALIVE AND KICKING Local Love, Jan., p. 16 Triangulating with Libs: Celebrating Diversity and Community, Sept., p. 28 ARTFUL INCLUSION/SPECIAL NEEDS Rainsticks, Jan., p. 27 Stepping Stones, Art-Class Adaptations: Working with Special Needs, Jan., p. 8 ART IS AT THE CORE Henri Matisse, Oct., p. 12 Theora Hamblett, Dec., p. 10

ART FOR PRESCHOOLERS Fruit and Veggie Printmaking Fun!, Nov., p. 30 Sakura Season in the Art Room, Jan, p. 22 CLAY: EARTHEN AND AIR-DRY Clay Tips from the Gamble Studio, Connections: Clay Attachments, Oct., p. 36 Clay Tips from the Gamble Studio: Slip or Vinegar?, Dec., p. 31 Serving Up Some Art on Clay Platters, Oct. p. 34 CHOICE-BASED ART Art for All, Nov., p. 10 Artistic Behaviors of a Teacher, Jan., p. 10 Purpose-Inspired Art, Sept. p. 14 COLLABORATIVE PROJECTS Paintings with Fabric Inspired by Shinique Smith, Dec. p. 16 COMMUNITY CONNECTIONS Local Love, Jan., p. 16 Discover the Power of Positive Change through Art, Sept., p. 32 Sci-Fi T-Shirts, Dec., p. 26 Partnering: Creative Career Exploration, Oct. p. 16 The Values of Our Flag, Nov., p. 14 DRAWING AND PAINTING Local Love, Jan., p. 16 Anthropomorphic Animal Collages inspired by William Wegman, Oct., p. 20 Art All Around Us, Oct., p. 30 Fruit and Veggie Printmaking Fun!, Nov., p. 30 Lighthouses: Spotlighting Mixed Media, Dec, p. 28 Masked Monoprints and Waxy Transfers, Nov. p. 28 Meet the Faculty, Sept., p. 36 My Kind of Mandala, Jan., p. 14 Paintings with Fabric Inspired by Shinique Smith, Dec. p. 16 Passionate about Painting: Start with Sunflowers, Sept., p. 20 Past/Present Printmaking Mashup, Nov. , p. 16 Plants ... on Watercolor Backgrounds, Sept., p. 30 Positive Affirmations: Great for Everyone!, Sept., p. 34 Sakura Season in the Art Room, Jan., p. 20 Star Artists, Oct., p. 18 TR Mack and Lots of Dots, Nov. p. 26 The Values of Our Flag, Nov., p. 14 ELEMENTARY (K-5) Anthropomorphic Animal Collages inspired by William Wegman, Oct., p. 20 Art All Around Us, Oct., p. 30 Drawing with Scissors, Oct., p. 28

Leonardo Drew and Grid Assemblages: Inspi- ration for an Inspiring Lesson, Dec., p. 24 Lighthouses: Spotlighting Mixed Media, Dec., p. 28 Local Love, Jan., p. 16 Paintings with Fabric Inspired by Shinique Smith, Dec. p. 16 Passionate about Painting: Start with Sunflowers, Sept., p. 20 Past/Present Printmaking Mashup, Nov., p. 16 Positive Affirmations: Great for Everyone!, Sept., p. 34 Quadrilateral Nutcrackers: Art + Math + Holidays = Fun Learning for Kids, Dec., p.12 Sakura Season in the Art Room, Jan., p. 20 Triangulating with Libs: Celebrating Diversity and Community, Sept., p. 28 TR Mack and Lots of Dots, Nov. p. 26 FABRIC AND FIBER Inspiration for an Inspiring Lesson, Dec., p. 24 Leonardo Drew and Grid Assemblages: Sci-Fi Paintings with Fabric Inspired by Shinique Smith, Dec. p. 16 Resisting Wax, Dec. p. 23 Sci-Fi T-Shirts, Dec., p. 26 FORUM: THOUGHTS TO SHARE The Problem with the Word “Pencil,” Sept., p. 17 INTEGRATING THE CURRICULUM Linking Art and Geography, Nov., p. 24 Quadrilateral Nutcrackers: Art + Math + Holidays = Fun Learning for Kids, Dec., p.12 MIDDLE AND SECONDARY (6-12) Art All Around Us, Oct., p. 30 Calligraphy: The Art of Beautiful Writing, Jan., p. 28 Combining Selfies with Typography, Oct. p. 32 Discover the Power of Positive Change through Art, Sept., p. 32 Linking Art and Geography, Nov., p. 24 Masked Monoprints and Waxy Transfers, Nov. p. 28 Meet the Faculty, Sept., p. 36 My Kind of Mandala, Jan., p. 14 Partnering: Creative Career Exploration, Oct. p. 16 Plants ... on Watercolor Backgrounds, Sept., p. 30 Resisting Wax, Dec. p. 23 Sci-Fi T-Shirts, Dec., p. 26 Serving Up Some Art on Clay Platters, Oct. p. 34 Shaping the Past, Jan., p. 18 Star Artists, Oct., p. 18 Stencil Chalk Design, Sept., p. 30 The Values of Our Flag, Nov., p. 14

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MIXED MEDIA Anthropomorphic Animal Collages inspired by William Wegman, Oct., p. 20 Art All Around Us, Oct., p. 30 Combining Selfies with Typography, Oct. p. 32 Leonardo Drew and Grid Assemblages: Inspi ration for an Inspiring Lesson, Dec., p. 24 Lighthouses: Spotlighting Mixed Media, Dec, p. 28 Linking Art and Geography, Nov., p. 24 Masked Monoprints and Waxy Transfers, Nov. p. 28 Paintings with Fabric Inspired by Shinique Smith, Dec. p. 16 Positive Affirmations: Great for Everyone!, Sept., p. 34 Serving Up Some Art on Clay Platters, Oct. p. 34 MULTICULTURAL Calligraphy: The Art of Beautiful Writing, Jan., p. 28 Linking Art and Geography, Nov., p. 24 My Kind of Mandala, Jan., p. 14 Past/Present Printmaking Mashup, Nov., p. 16 Rainsticks, Jan., p. 27 Sakura Season in the Art Room, Jan., p. 20 Serving Up Some Art on Clay Platters, Oct. p. 34 Shaping the Past, Jan., p. 18 Triangulating with Libs: Celebrating Diversity and Community, Sept., p. 28 ON THE ART CAREER TRACK Combining Selfies with Typography, Oct. p. 32 Sci-Fi T-Shirts, Dec., p. 26 PAPER/PAPIER-MACHE/COLLAGE Anthropomorphic Animal Collages inspired by William Wegman, Oct., p. 20 Combining Selfies with Typography, Oct. p. 32 Drawing with Scissors, Oct., p. 28 Leonardo Drew and Grid Assemblages: Inspi ration for an Inspiring Lesson, Dec., p. 24 Lighthouses: Spotlighting Mixed Media, Dec, p. 28 Partnering: Creative Career Exploration, Oct. p. 16 Quadrilateral Nutcrackers: Art + Math + Holidays = Fun Learning for Kids, Dec., p.12 Serving Up Some Art on Clay Platters, Oct. p. 34 Shaping the Past, Jan., p. 18 Star Artists, Oct., p. 18 Triangulating with Libs: Celebrating Diversity and Community, Sept., p. 28

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PRINTMAKING/IMAGE TRANSFER Past/Present Printmaking Mashup, Nov. , p. 16 TR Mack and Lots of Dots, Nov. p. 26 Masked Monoprints and Waxy Transfers, Nov. p. 28 Sci-Fi T-Shirts, Dec., p. 26 Fruit and Veggie Printmaking Fun!, Nov., p. 30 Resisting Wax, Dec. p. 23 RANDOM THOUGHTS ABOUT ART AND EDUCATION The Society of Mind, Sept., p. 10 READY-TO-USE RESOURCES A&A Art Print: Autumn Foliage, Tom Thomson, Nov., p. 23 A&A Art Print: Bible Story, Lucy Mingo, Dec., p. 19 A&A Art Print: Wheatfield with Cypresses, Vincent van Gogh, Sept., p. 24 A&A Art Print: Young Hare, Albrecht Dürer, Oct., p. 23 A&A Art Print: The Meal, Paul Gauguin, Jan., p. 23 Introduction to the 2016–17 A&A Art Print Series, Sept., p. 22 A&A Study Print: The Drawing Lesson, Jan Steen, Sept., p. 45 A&A Study Print: Football Players, Albert Gleizes, Oct., p. 45 A&A Study Print: Tapestry: Greenery, John Henry Deale for Morris & Co., Dec., p. 37 A&A Study Print: Winter: Cat on a Cushion, Theophile-Alexandre Steinlen, Nov., p. 37 A&A Study Print: Tanoo, Queen Charlotte Island, Emily Carr, Jan., p. 45 RECYCLING/USING FOUND OBJECTS Drawing with Scissors, Oct., p. 28 Leonardo Drew and Grid Assemblages: Inspi ration for an Inspiring Lesson, Dec., p. 24 Paintings with Fabric Inspired by Shinique Smith, Dec., p. 16 STEPPING STONES Adventures in Printmaking, Nov., p. 8 Art-Class Adaptations: Working with Special Needs, Jan., p. 8 Ideas for Early Finishers, Oct., p. 10 Leap Into the Fiber Arts World, Dec., p. 8 Mapping Out Your Teaching Environment, Sept., p. 12 THREE-DIMENSIONAL DESIGN Leonardo Drew and Grid Assemblages: Inspi ration for an Inspiring Lesson, Dec., p. 24 Shaping the Past, Jan., p. 18 Serving Up Some Art on Clay Platters, Oct. p. 34

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TRIED & TRUE TIPS FOR ART TEACHERS Back in the Swing of Things, Sept., p. 46 Learn Something New, Oct., p. 46 Outside the Box, Jan., p. 46 Printmaking and Image Transfer, Nov., p. 38 Textures and Mixed Media, Dec., p. 38 YOUNG ARTIST Chang, Caroline, Oct, p. 27 YEARLONG ART II CURRICULUM SERIES Where the Technical Meets the Creative, Lesson 4: Art of Anatomy, Dec., p. 14 Where the Technical Meets the Creative, Lesson 1: The Art of Portraiture, Sept., p. 18 Where the Technical Meets the Creative, Lesson 3: Creating with Charcoal, Nov., p. 12 Where the Technical Meets the Creative, Lesson 2: Left-Brain/Right-Brain Fun, Oct., p. 14 Where the Technical Meets the Creative, Lesson 5: Still-Life Series, Jan. p. 12 AUTHORS Ackerly, Andrea, Sept., p. 34 Beckett, Marcia, Oct., p. 20; Dec., p. 16 Brown, Carole, Sept., p. 17 Burkle, Tom, Sept., p. 14 Bovio, Debbi, Nov., p. 14 Bosley, Mary Beggs, Dec., p. 28 Crumpecker, Cheryl, Nov., p. 26 Dionne, Suzanne, Sept., p. 20; Nov., p. 30; Jan., p. 20 Erie, Tiffany, Jan., p.10 Esrum, Eva K., Oct., p. 16 Gamble, Tracy P., Oct., p. 36; Dec., p. 31 Goldman, Gale, Nov., p. 24 Guhin, Paula, Nov., p. 28; Dec., p. 23 Hausman, Jerome J., Sept., p. 10 Klopack, Ken, Oct., p. 18 Koonlaba, Amanda, Oct., p. 12; Dec., pp. 10, 24 Knappenberger, Jenny, Dec., p. 12 Laux, David, Oct., p. 34 Lowman, Sonia, Sept., p. 32 Lubiner, Glenda, Sept., p. 46; Oct., p. 46; Nov., p. 38; Dec., p. 38; Jan., p. 46 Masse, Don, Sept., p. 28; Nov., p. 16; Jan., p. 16 Monley, MK, Nov., p. 10 O’Hanley, Heidi, Sept., p. 12; Oct., p. 10; Nov., p. 8; Dec., p. 8; Jan., p. 8 Osterer, Irv, Sept., p. 36; Oct., p. 32; Dec., p. 26 Petersen, Hugh, Sept., p. 30; Jan., p. 28 Pippin, Sandi, Sept., p. 27 Raczelowski, Kathryn, Oct., p. 27 Sapoch, Lauren, Oct., p. 28 Sartorius, Tara Cady, Sept., p. 23; Oct., p. 23; Nov., p. 19; Dec., p. 19; Jan., p. 23 Skophammer, Karen, Oct., p. 30 West, Debi, Sept., p. 18; Oct., p. 14; Nov., p. 12; Dec., p. 14; Jan., p. 12 n 43

Paragon introduces a new touch screen controller

I float around the room and listen in, ask students to repeat, or to add even more detail to their reflections.

LOCAL

continued from page 17

fter subjecting the new Sentinel Smart Touch controller to ruthless testing, we are proud to add this to our family of kilns.

JUST BEFORE THIS CURRENT SCHOOL YEAR BEGAN, I visited Santos’ gallery

Easy to install

The Sentinel is optional on most digital Paragon kilns. The Sentinel can replace the Sentry 12-key controller in minutes on existing Paragon kilns. Continuous voltage and amperage readout

New Paragon kilns equipped with the Sentinel give a continuous amperage and circuit voltage readout during firings. You will know at a glance if the voltage drops and when to replace elements. Easy-to-use touch screen

Easy-to-follow screen descriptions simplify programming. Give a title to each custom program. Use up to 32 segments per program. The novice mode is ingeniously simple, with questions that help you program each step.

Paragon tested the Sentinel Smart Touch controller under grueling conditions for months before releasing it.

are available even from distant lands like Australia. Easy on your budget

For more details on the exciting Sentinel Smart Touch, please visit our website or call 800-876-4328. The controller you’ve dreamed of costs a lot less than you dreamed.

WiFi updates

As long as you have WiFi access, you can update the controller when new features

2011 South Town East Blvd. Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557 www.paragonweb.com info@paragonweb.com

Drying / Storage Racks Over 50 types & sizes! Sold through most school distributors.

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Do you have art-teaching tips to share with other teachers? Send them to Glenda at:

tipsfor ar tteacher s @ yahoo.com 44

for the first time. It was great to see his work in person and to see examples of variety in approach and materials in the work exhibited. And, lo and behold, Santos was in the gallery working. He came out to see if I had any questions and I told him about this project and gave him some background on our school. Within minutes, he asked me if we had a wall that we would like to have painted. He was willing to donate his time, materials and creative energy in order to enliven our school campus. I was floored … and giddy! Fast-forward five weeks later and he was on a wall 130 feet long and serves as the backdrop for our regular school-wide openings at Zamorano Fine Arts Academy. A small team of fifth-graders—model citizens and artists—helped him paint the background of the mural. Classes toured the mural, watched Santos work, and interacted with him in Q & A sessions. Students saw Santos employing some of the same elements their teachers practice with them every day: he had his basic idea, created, stepped back and looked at his work, then revised and added to the mural. Sentence by sentence, paragraph by paragraph, until the large piece was complete. That same week, I did a project inspired by his work with my secondgraders. We were able to go outside, mid-lesson, and watch him make bold lines with his “triple-line technique.” Then we would come back in class and have a much better idea of how to emphasize lines in our own artwork. What an experience for our students! This can only happen if you open yourself up to introducing your students to local, living artists. The connection can be so real, so palpable, and it can leave a lasting impression on them for the rest of their lives. n Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California.

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Emily Carr (Canadian; 1871-1945) Tanoo, Queen Charlotte Island, 1913. Oil on canvas; 110.5 x 170.8 cm. British Columbia Archives Collection, Royal B.C. Museum, Victoria. Artwork is in the public domain.

“Art is much less important than life, but what a poor life without it.” — Robert Motherwell

appy New Year! Wow, 2017! I guess time really does fly when you are having a good time, and I know that if you are like me you love your job. We are so lucky! We get to do what we love AND we get paid to do it! As I reflect on the past few months of school I realize that the months are flying by and I still have so many things that I want to do. With the New Year upon us, my resolution for my art program is to have my students be inquirers, more reflective, and open-minded. It is so important for them to think outside of the box, ask questions, and know why they are doing an assignment. I’ve started to

their symbol on one side of a rectangle and in the other side they wrote two to three key meanings of the symbol they gleaned from the reading. When everyone was finished they shared as a class and everyone completed their rectangles on their graphic organizer. After two 45-minute classes, every student knew the meaning and location of symbolism in the famous Lansdowne portrait.

tip #2

tip #1

GRAPHIC ORGANIZERS IN THE ART ROOM? WHY NOT? Mary Jane Long

from Fairview Elementary School in Dover, Delaware, and Hartly Elementary School in Hartly, Delaware, uses graphic organizers to increase retention of historical information. For example, last year she made an organizer with 12 rectangles, each one divided in half, and numbered from one to 12. She then distributed printouts, readings, and imagery from the website, georgewashington.si.edu/portrait/nonflash.html. Each group of students found their number, wrote the name of ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com

ubiner

LOOK, THINK, AND DISCUSS Our sec-

ond tip comes to you from Michelle Zimmerman, from Notre Dame Preparatory Lower School in Pontiac, Michigan. She uses Visual Thinking Strategies (VTS) when she discusses art in her classroom. She displays two art

Outside the Box have them write reflective paragraphs in their sketchbooks. What’s your resolution for your art class? Although we always include on art history, art appreciation, and cultural art in our art units, this month we will have some great tips for you on these topics.

Glenda L

reproductions and poses open-ended questions to her students, such as "what do you see, what do you think, and what do you wonder?" These questions prompt conversations at an elementary level. Greater inquiry focuses on evidence with questions like “What do you see that makes you say that?” and “What more can we find?” She asks her students to carefully look at the works of art and discuss what they see. Part of VTS is also having the students back up their thoughts with things that they see in the artwork—visual evidence. The students also talk about other possible interpretations of the artwork they are looking at. Michelle understands it is important to use visual and cognitive skills. Doing this helps to build confidence in the students. While using VTS, Michelle uses the techniques of paraphrasing, pointing at the area being discussed and linking student comments.

tip #3

WHAT IN THE WORLD IS GOING ON?

One thing I have been doing lately with my middle-school students is to talk about the history, geography, language and culture of the country of the artist

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the students are learning about. It’s great to know the history of the artist, but what was happening in the world around them? Did it affect the work that they made? Where in the world did they live? I always point out the country on a map as well, as many students are not familiar with several countries. This has led the students to be more inquisitive, ask more questions, and reflect more on social issues.

tip #4

BRING MULTICULTURALISM INTO YOUR CLASSROOM Most of our classrooms

and schools have a very diverse ethnic population. We must remember when talking about different cultures in your classroom, it is very important to be sensitive to all groups. One project I am currently working on is having my middleschool students do a self-portrait using cultural and personal symbols. They are using mixed media for this project. HAPPY BIRTHDAY to Alfred Stieglitz

(Jan. 1, 1864), Marsden Hartley (Jan. 4, 1877), Barbara Hepworth (Jan.10, 1903), Cindy Sherman (Jan. 19, 1954), Robert Motherwell (Jan. 24, 1915) and Jackson Pollock (Jan. 28, 1912). Thank you Mary Jane and Michelle for these wonderful tips. n 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.

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