Arts & Activities Magazine January 2018 by Arts & Activities

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CONTENTS V O L U ME 1 6 2 , No . 5

12 14 16 18 20 22 27

J A NUA RY 2 0 18

HONORING OUR ART HERITAGE

INTEGRATING THE CURRICULUM: DREAMTIME STORYTELLING Anne M. Hoffman MEHNDI HANDS Rachel Motta UNCOVERING THE SECRETS OF THE TAJ MAHAL Barbara Hildebrandt “DRAW” LIKE AN EGYPTIAN Megan Giampietro CELEBRATE DIVERSITY! EMBRACING OUR RICH HERITAGE Jody Reynolds ART AND ELL Irv Osterer COMMUNITY CONNECTIONS: ON THE TRAIL OF CALDER Suzanne Dionne

YEARLONG SECONDARY ADVANCED ART SERIES 10 AN AMPED UP CURRICULUM, ARTICLE 5 OF 10: TRANSPORTATION Debi West

SPECIAL FEATURES AND COLUMNS 8 STEPPING STONES: EXPRESSING CULTURE AND IDENTITY IN ART Heidi O’Hanley

9 CHOICE-BASED ART: ART HISTORY IN THE TAB CLASSROOM Linda M. Papanicolaou

46 TRIED & TRUE TIPS FOR ART TEACHERS: ABOUT TIME Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 23 ARTS & ACTIVITIES ART PRINT: OSCAR SOTENO, TREE OF LIFE WITH THEME OF HANDCRAFTS Tara Cady Sartorius 45 ARTS & ACTIVITIES STUDY PRINT: THE TAJ MAHAL

A&A AT YOUR SERVICE 33 2018 BUYER’S GUIDE 41 ADVERTISER INDEX 42 VOLUME INDEX

DEPARTMENTS 6 EDITOR’S NOTE 30 MEDIA REVIEWS 31 SHOP TALK ON THE COVER

TREE OF LIFE WITH THEME OF HANDCRAFTS (2009) Earthenware clay. By Oscar Soteno (Mexican; b. 1971). Museum of Artes Populares, Mexico City. See “Arts & Activities Art Print,” page 23. SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. AD SALES: (800) 651-7567; amy.tanguay@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128.

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e d i t o r ’s n o t e

It’s important for citizens of a nation to

experience. From Jody Reynolds’ “Celebrate Diversity! Embracing Our Rich Heritage” (page 20) to Irv Osterer’s “Art and Ell” (page 22), we honor art heritage in this month’s issue.

Thomas von Rosen

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

honor their art heritage. In a diversified population such as we have here in the United States, this makes for an interesting, eclectic—and fun—

president

a r t d i r e c t o r Niki Ackermann EDITORIAL ADVISORY BOARD

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

Contributing Editor Heidi O’Hanley offers thoughtful advice for doing this in “Expressing Culture and Identity In Art,” her “Stepping Stones” column this month. “It is important to recognize

Barbara Herberholz Art Education Consultant, Sacramento, California George Székely Senior Professor of Art Education, University of Kentucky, Lexington

multiple cultures in your classroom because your students come from many different backgrounds,” she writes. “You may have refugees, first generation families, or children from mixed heritage. Your students will all be different with individual stories, faiths, cultures, and identities. As an educator, you are responsible in helping students feel safe and accepted in our diverse

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

society.” Her suggestions for doing so are found on page 8.

The Tree of Life gracing our cover and featured this month as our pullout Art Print (page 24), was created by Mexican craftsman, Oscar Soteno. Not only is it a delight to look at and explore,

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

its numerous handmade objects provide a way to learn a little bit about

Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada

Mexico’s history, traditions, people, and its art. Author/educator Tara Cady

Debi West Art Teacher, Art Education Consultant, Suwanee, Georgia

Sartorius has done a great job identifying many of the items and providing ADVERTISING DEPARTMENT

the stories behind them.

a d v e r t i s i n g m a n a g e r Amy Tanguay

Anne Hoffman shares her love for Aboriginal Australian art with her upper-elementary students in her “Integrating the Curriculum: Dreamtime Storytelling” (page 12), and the children’s book, “Nadia’s Hands,” inspired Rachel Motta’s lesson, “Mehndi Hands,” found on page 14. In Barbara Hildebrandt’s “Uncovering the Secrets of the Taj Mahal” (page 16) students study the details found on this famous building (see page 45 for a close-up), then create their own intricate artworks, and the 1922 discovery of King Tut’s tomb inspires students’ colorful sarcophagi in Megan Giampietro’s “‘Draw’” Like an Egyptian” (page 18).

Honoring our art heritage … it’s important, a learning experience, and a lot of fun in the art room.

amy.tanguay @ artsandactivities.com 800.826.2216 or 888.651.7567 p r o d u c t i o n m a n a g e r Kevin Lewis production @ artsandactivities.com

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

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Yikes! The deadline is here for a free subscription* to Arts & Activities! DEADLINE: JANUARY 10 TELL us about how you have used one (or more) of the projects from Arts & Activities magazine in your classroom.

Give Me Liberty ey, June 2007

sween by Debra B. ties was my ng, Arts & Activi would be years of teachi ts uring my early types of art projecmy students mining what for lifeline. Deter ly stimulating as well as visual ey’s clever use both fun to teach ered Debra Sween ates opened. When I discov ational floodg was a challenge. inspir the t, process and art projec explained her of media in one the way Debra of Liber ty and I appreciated ct like the Statue ely non-art subje lesson. I have done this lesson took a relativ art years an expressive and over the turned it into many times nts stude iques, used rade s collage techn with my fifth-g ed with variou ty! have experiment Lady Liber lesson ion that this a full version and even tried and self-express marker a waterproof different media ce of direct-line instruction Liber ty with ns, balan Lady sequi ng rs, the love drawi I er, rs, sticke all starts togeth color paint, marke ra paint all add to offers. The class vity begins ... liquid water of metallic tempe my art room. creati s and splashes and then the be a hit in scraps, oil pastel never fails to painted paper Lady Liber ty of each piece. Palmer, eness Patty by uniqu the Submitted l, Goleta, Calif. Brandon Schoo

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Playing with Picass 2008

ne, March outside by Debra Tampo so in the hall to ians by Picas e up the lesson The Three Music as blast. To chang large print of they wanted, t would be a ince I have a e any colors ht this projec a graduation freedom to choos my room, I thoug applied with the students was gave color I opened up ast and every suit my likes they wanted had a lot of contr them to use any colors to green ating gradu long as they raging d that red pink in color. Encou nts. Some learne s a beautiful into another mome create ng white to of them and learni possibilities Red graduating their drawings and many in the middle. with how we did the very pleased results in mud e who don’t know The kids were ever did. Peopl the middle, etc. like that? kids to draw the best art they did you get the said that it was , ask how on earth Pam Mikolajczyk project often Submitted by my Acade ian sachusetts) Christ Holden (Mas

THINK about the national attention your art program will

receive—not to mention the attention from your school board, district administrators, school principal and more!

June 2007 by Judy Kalil,

my fifthdiately that knew imme find the nts would grade stude intriguing. this project more concept of lesson for my I adapted the chose an s. Students classe ced advan on white tag l and drew it scene ocean anima beach a painted n board. They a combinatio using l anima inside the ylics. They cakes and acr of tempera construction book and used scrap ocean floor, the paper to create construction paper s with detail g addin were alike! two projects crayons. No

DETAILS

Click on the 85th-Anniversary “A&A It Works!” icon on our home page: www.artsandactivities.com

JUNE 07 pp2-35

23 MAR pp 2 to

1/31/08

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aba, Amanda Koonl Submitted by ntary, Lawhon Eleme Tupelo, Miss.

may

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JUNE 07 pp2-35

I rarely get s a substitute teacher, own lesson plans to implement my details with all the little and experiment a success. Recentthat make the lesson as a enough to serve ly, I was fortunate the an entire year at long-term sub for The teacher for middle-school level. me to cover asked subbing whom I was stuher eighth-grade Pablo Picasso with pack this lesson to eager was dents. I tation with materiwith facts, experimen y, a way to importantl most als and, them to learn. inspire and motivate historical facts on My lesson included he time period in which Picasso and the students underthat found have lived. I art more to works of stand and can relate what the world was when they are taught time period and how like during a certain nt or to their environme artists responded

background and symbolism of the Statue of Liberty. techniques in communicating their ideas.

• create a unique rendition of the Statue

Playing with by Debra Tampone

in their lives. Included critical events in of Picasso were perthis short biography artist rth facts about the sonal, down-to-ea the students picand his life. I showed discussed his works tures of his studio, about his pet goat! and even told them in n proved effective This introductio attention and their drawing the students’ lesson. participation in the development of In discussing the we focused our his artistic career, and its characterattention on cubism his d them to one of istics. I introduce

Picasso

origd version of their into a fragmente g one of the Cubist-st yle paintings inal drawing, resemblin that the stuMusicubism titled The Three characteristics of to To prepare for the cians as a means dents had observed. artists x 24" piece of drawexamine where final copy, an 18" the fragWe also was placed over get their ideas. paper ing as the Next the students used this painting mented drawing. design, the fragmentbasis for the project. traced the whole the were as the outline of To start, they ed objects as well choose newsprint paper. instructe d to cut edges of the were a dynamic comthree objects that Aside from creating stuto each Cubist style, the somehow related position in the using work their paintings other and title their dents enhanced on from a previ“The Three ...” (based e they acquired knowledg of chose). the properties the subject they ous lesson about and gave examples of their objects were color. I explained Simple line drawings outcolors come forward newsprint and then of how warm done on 18" x 24" the recede. This informamarker, including while cool colors lined with black enthusiwith much itself. tion was received edge of the paper view my d to draw I had the class when asm Students were encourage 3-D glasses. and to arrange them examples through their objects large negaempowered them balance between Now that I had so there was a were to create, I develspace. Next they with some inspiration tive and positive that allowed each drawing from one oped an easy system to be successful asked to cut the y to the other, turning student the opportunit le composition, edge of the paper or a puzzle of three in creating a Cubist-sty their drawings into then drawing abilities. The students regardless of their four sections. puzzle-like drawing es.com dactiviti rearranged their n a s t r ❘ www.a march 2008

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of Liberty.

• become more aware of the many

different cultures that make up the United States of America.

• make a connection between visual arts and other subject areas.

Hats,” by Anthony. “The Three Top by Lacey. “The Three Cupcakes,”

VES LEARNING OBJECTI

Give Me Liberty

will ... Family photograph from Middle-school students artist 1905. famous 20th-century • learn about the Pablo Picasso. development of Cubism. • learn about thedevelopment of art • learn how the the world in which movements shape we live. and cool colors. • learn about warmand experience about • gain knowledge material. using a new

Johnathan T.

MATERIALS few years ago, I made my first trip to New York City. Musicians Three

The • Print of Picasso’s I was so inspired that, three years later, I am still resources about • Biographical thinking about the magnificence of this historical, multiPablo Picasso

paper cultural, urban city.

• 18" x 24" newsprint Onepaper of my all-time favorite tours was of Ellis Island. My • 18" x 24" drawing blue, orange, friend and yellow, I walked through the same buildings thousands • Oil pastels (red, n) of poor immigrants had walked through in search of a betgreen, yellow-gree online)

(available life. I was able to look up some of my own ancestors who • 3-D glasses ter markers • Black permanent • Scissors 24 by Amanda. “The Three Fruits,”

ies.com ndactivit www.artsa

Tell us how A&A articles inspired your teaching JUNE 07 pp36-cover

• experiment and use different media and

4/26/07

the curriculum

to office and was able ing in the dentist about the work and successful works. recount certain facts means to the most as display of knowledge was contagious the magic to begin! the artist. This The excitement room It was time for completion and in the waiting had to decide impressed those MATERIALS each student neared First each student the 3-D warm of pride for the parent. the background their project through and was a source whether to paint Pictures, books andviewed Web sites on the display of complete d vice versa. recounted a similar d cool,•or The Another parent and the foregroun Statue of each Liberty glasses. drew the attenat her son’s college. lightly marked was dazzling and story while on tour to works With pencil they Windows or other light source ability d viewing • child’s Those backgroun her “B” for Classified section oftion of each passerby. She described newspaper enclosed shape • Using their guide the characteris d. were provided with explain to the tour students’ bottle with green coloringwork were the food e and “F” for foregroun • Spray a previous could experienc why certain colors fromand water (thetomore3-D foodglasses coloring, so the they tics of color and and of knowledge of value students for certain rooms thedarker pull characteristics the color) specifically chosen on the push and project, I instructed a gracampus, depending shape 9" with x 12" manila paper locations on the warm and cool colors. r paint each enclosed •colors that corpurpose of the area. warm • 12" x 18" white paper Aside from creating a spectacula the function and proved dation of cool or pride backlesson took of this student markers each markings • Pencils, crayons and assorted Without a doubt, has work of art that responded to their histomany levels and d. • Black permanent markersthe students learned a little art itself a success on in in, the ground or foregroun • Scissors of cool of n students by appreciatio gradation an even been requested ■ ry, new skills and I demonstrated the • Glue green and the I received one of medium other grades. value of art. Later two colors by using blue, • Watercolor sets and paintbrushes as a teacher when oil pastels. Likewise, greatest rewards their then light green creatdeveloped this lesson proof to me that warm colors was Debra Tampone Midparents described the gradation of at Rondout Valley and applying their and then yellow. when she taught child was learning that ed using red, orange New York. leaving no OBJECTIVES parent reported blended,LEARNING dle School in Accord, knowledge. One The colors were Effort a Picasso paintexposed. paper Elementary studentsawill ... their child recognized white areas of the were stressed as and craftsmanship • better understand the historical

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march 2008

by Debra B. Sweeney

arrived like so many other immigrants in the 1890s. Since then, I have incorporated my experience into several meaningful cross-curricular art activities. One of the most enjoyable and successful was a collage project of “Lady Liberty.” This lesson can be used and adapted for any grade level, but in this instance I chose to introduce this lesson to my fourth-grade class. I started the lesson with some old photographs of my j u n e •s u m m e r 2007

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s 80 year 2013 •

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tivities

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great-grandparents and their children, telling students the story of how my ancestors had come from Sicily to New York in search of a new life. The photos show a young family at the turn of the century. I pointed out that my grandmother was only 5 years old in the photo. The children were fascinated that she had been born in 1900. Then I asked the students, “What did these immigrants see when they landed in New Students drew portraits of York?” Of course they all Lady Liberty on 12" x 9" knew and shouted out, “The manila paper. Statue of Liberty!” That’s how I introduced my PowerPoint presentation on the facts and history of Lady Liberty. We learned that she had been a gift from France. We talked about the sculptor, Frederic Bartholdi, the statue’s enormous size and its journey to the United States. I read the poem by Emma Lazarus and we shared how this poem made us feel. I had several books, pictures and Web sites to share with the students. After we discussed many interesting facts about the famous Lady Liberty, I introduced the collage project. Students were instructed to create their own portrait rendering of the Statue of Liberty on a 9" x 12" piece of manila paper. After they were satisfied with their sketches, they were then told to put their drawings aside and find a sheet from the classified section of newspaper. By this point, they were wondering what was next. To their surprise, I asked the students to lightly spray their sheet of newspaper with a spray bottle containing water and green food coloring. While we let the green newspaper dry, I showed them how to trace their original drawing onto the green newspaper. Finally, I demonstrated cutting the green portrait out and placed it on 12" x 18" white paper. My art room has lots of windows, so several students could hold their drawings to the glass to trace, while a few of the students used a light box. After brainstorming ideas, students created backgrounds on the white paper. Some of them chose fireworks, others created urban skylines or sunsets, while a few students decided on a simple watercolor wash. The results were fabulous! Each child’s project had a unique and Tanya X. different look. www.artsandactivities.com

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MATERIALS

LEARNING OBJECTIVE S

• 15" x 22" watercolor paper • Watercolors and paintbrushes • Ultra-fine-point permanent

Elementary students will

... such as Claude Monet and Winslow Homer.

• study the works of great artists

black markers

• Pencils and sketch paper • Photos and other visuals of fish

and underwater/ocean scenes • Photos and/or reproductions of art by masters that exhibit seascapes and water (i.e. Homer, Monet and many others)

• paint with watercolors and understand

the properties of water and the medium of watercolor. • learn about color: analogous and complementary. • see how easy it is to create fish from geometric shapes.

• learn about seascapes.

Alison T.

RELATED RESOURCES

Inside-Out Seascapes

BOOKS • Gutman, Anne and Hallensleben, Georg, Lisa in New York. Knopf Books for Young Readers, 2002. • Penner, Lucille Recht, The Statue of Liberty. Random House Books for Young Readers, 2003. • Lewison, Wendy Cheyette, L is for Liberty. Grosset & Dunlap, 2003. • Curlee, Lynn, Liberty. Aladdin, 2003. • Nason, Thelma Campbell, Our Statue of Liberty. Follett Publishing Co., 1969. • Drummond,byAllan, JudyLiberty! KalilFarrar, Straus and Giroux, 2002. • Roitman, Tanya, I’m Going to New York to Visit the Lions. Sterling, 2005.

WEB SITES • www.libertystatepark.com/emma.htm • www.nationalgeographic.com/ngkids/9907/ • www.statueoflibertyclub.com/links.html

Our school has children from many different cultures. During this entire process, we discussed many present-day issues, such as immigration, democracy and the symbolism of liberty. We even learned a few new words in different languages. In the end, the students had created a unique project that conveyed their feelings and emotions about our great country. ■ Debra B. Sweeney teaches pre-K through fifth-grade art at Nottingham Country Elementary School in Katy, Texas. 25

j u n e •s u m m e r 2007

ecause we live in northern Florida, “where Florida begins,” people often perceive us as a colder climate. But, the truth is, fish are jumping here all year long. Fish, therefore, are always wonderful subjects to choose for art. They represent the image of Florida we try to present. For the primary grades, it’s fun to display some of the many fabrics that have lots of lovely, colorful fish swimming in aquamarine water. After demonstration and discussion much on the varieties of ovals that create the different fish shapes, paper is handed out and we begin to practice-sketc h. Students are encouraged to practice drawing ovals and adding different geometric shapes to create the eyes,

j u n e •s u m m e r 2 007

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Students joined the likes of Monet and Homer in painting seascapes—but with a twist: their seascapes are inside the fish!

thing else they might see in a seascape. We do have another lesson on how to draw different types of boats. Once everything is drawn, the students go over their pencil lines with black, ultrafine-point permanent marker. The more detail, the better. Clouds, birds, fish, treasure chests, pirates, sharks, sunsets, pirate ships, cannons, palm trees, flowers, crabs, coconuts, fishing poles and many other items that challenge the imagination can appear in these wonderful creations. The fun really begins when we add watercolor. Students work on the inside seascape first, then they start drawing again, adding sea grass, small fish, seaweed and maybe even a mermaid side the fish, in the background. outOnce again, this is done in pencil and then drawn over with permanent black marker. Watercolor is added to the detail. But, the inside-out seascapes really look great when the backgrounds are filled in with complementa ry colors. If the fish are done in blues, for example, then the background would be in oranges. Our seascapes really make dents jump with excitement— the stujust like our Florida fish do! ■ Judy Kalil teaches art at St. Johns Country Day School in Orange Park, Florida.

fins, tails and other details of their fish. Having many visuals available helps students decide which fish will be the one that will be the center of their masterpiece. (It might even be a turtle!) After the children feel comfortable and happy with their sketches, they each transfer their drawings onto a large piece of watercolor paper. They should draw the fish very large. Once on the page, only fins, an eye and tail are added. All sketching is done first in pencil. The next step is to design a seascape to go inside the fish. Slides, books and visuals about the art of such famous artists as Winslow Homer and Claude Monet can be introduced to demonstrate the properties of water, and things that can appear on the water. Simple watercolor techniques should also be discussed. Lessons about the properties of water, direction of water and light in the water are valuable. We then add our water/horizo n line the inside of our fish—about across midway. On that line, students are encouraged to draw a boat, an island with trees or anywww.artsand activities.co m

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INTEGRATING

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by Colleen. “The Three Guitars,” by Karl. “The Three Fish,”

1/31/08

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Inside-Out Seascapes

DEADLINE: JANUARY 10, 2018

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.

EXPRESSING CULTURE AND IDENTITY IN ART

BY HEIDI O'HANLEY

ne of the best qualities in our society is our immense blend of multiple cultures. Today, we can easily do a DNA search to find our ancestral background and see just how many different regions of our planet make up our genetic markers. We also have families who emigrate from their native homelands for brighter opportunities, travel to explore different perspectives, and study abroad to expand their learning. This helps to build empathy and open-mindedness for a more positive future. It is important to recognize multiple cultures in your classroom because your students come from many different backgrounds. You may have refugees, first generation families, or children from mixed heritage. Your students will all be different with individual stories, faiths, cultures, and identities. As an educator, you are responsible in helping students feel safe and accepted in our diverse society. Discussing culturalism can be a sensitive topic, but it is important because it is a part of our identities. From elementary through higher education, students want to convey their individualism through the arts. Our art classes are one of the best outlets for students to express themselves. It is up to us, as their teachers and role models, to facilitate the learning environment for our students. There are a few approaches you can take to help build diverse relationships in your classroom.

CREATE LESSONS THAT ARE INSPIRED BY THE VARIETY of your students’ cultures and backgrounds.

Students love to learn about artists that they can relate to. For example, if you have a larger population of Hispanic students, create a lesson inspired by Mexican folk art or known artists from the region. If you have Arabic students, create lessons inspired by Middle Eastern geometric designs or architecture. From experience, students respond very well when learning about art and artists that reflect a part of their own background.

WHEN AVAILABLE, LEAVE ROOM FOR STUDENTS to express their culture and identity in their artworks. This does not need to happen in each and every lesson you teach, but if given the chance, students love to add images and patterns that represent a bit about themselves, from their favorite toy, comic, colors, symbols, and familiar imagery from their culture. This helps give students more personal ownership of their pieces and more pride in themselves.

have families that cannot work with Halloween, while others recognize Samhain. I work around the holiday themes by focusing on the seasons instead. Many projects give room for students to add holiday details on their own terms. For example, I do a perspective pumpkin patch with third grade, but it’s their choice if they want to add faces, ghosts, or bats in their artworks. You can also work with winter trees, but it leaves room for students to add decorations if they wish.

KEEP AN OPEN MIND WHEN USING SYMBOLISM.

Sometimes, students may express their identity and culture with the use of symbols. Many cultures have unique symbols that we may not be familiar with because they are not part of our own heritage. I had an experience in my fourth-grade class when students were painting their clay boxes. One student who was of Hindu faith added a symbol for prosperity in their traditions. The class, unaware of the original meaning, had questioned the symbol, which encouraged a conversation about using symbols in proper context. Through the exposure of a different culture, my students have a better understanding of the diversity around them.

ASK, DON’T ALWAYS ASSUME. In some cases, you may have an experience where students are using symbols or imagery in their artworks that may or may not be familiar to you. Some common misunderstood symbols are the hamsa, dharma wheel, pentacle, lotus, ankh, yin yang, and Nordic runes. Many of these symbols represent a student’s culture or faith, but can easily be taken out of context. If you see a student using symbolism within their artworks, ask questions about the purpose of the imagery in their artwork before assuming they may be sneaking in a hidden message.

INVITE PARENTS AND ARTISTS FROM DIFFERENT CULTURES to come and talk with your students. Some of

the best cultural resources may lie within your own community! There are many artists residing in hometowns that are more than happy to come and talk with your classes and share their works of art. In the past, I’ve invited parents to share art and imagery from their family’s homeland, and students have responded very well to having community members come in to talk with them! n The best way we can celebrate diversity is by giving our students the space to express themselves in positive ways. Let’s give them the opportunity to shine!

TREAD LIGHTLY WITH HOLIDAYS. Holiday projects can very fun, but there are cultures and religions that do not recognize the same holidays. For instance, I

Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Illinois. Visit her blog at www.talesfromthetravelling artteacher.blogspot.com.

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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.

ART HISTORY IN THE TAB CLASSROOM BY LINDA M. PAPANICOLAOU

hen I returned to art education from years of art history and museum education, I joined a district where the elementary curriculum was Discipline-Based Art Education (DBAE). The weekly lesson plans included a large museum reproduction, dog-eared from years of use. I would bring it to the classroom, prop it on the whiteboard tray and do an anticipatory set about the artist and artwork before dispersing everyone to tables for a hands-on project related to it. Now a TAB teacher, I’m often asked how I handle art history when my students head off to different centers after a demo or mini lesson that’s much shorter than a traditional DBAE anticipatory set. TeachingforArtisticBehavior.org has a page that offers numerous suggestions for working in art history that are more TAB compatible. I’ve used a number of them, but here are three I rely on in my practice: THE FIVE-MINUTE MUSEUM: Uncoupled from an art-making project, one or two slides on the projector screen can be a whole-class opening activity. THE TEACHABLE MOMENT: During work time, if a student

seems to have a problem that an old master drawing can help solve, or if someone’s project simply reminds me of a famous artwork, I call up the image on my laptop computer and do a quick demo. If it might interest everyone, I may pause the class and put the image on the projector. ART HISTORY AS A CHOICE CENTER: Books and museum

calendars, certainly, but videos are even more effective. I often put one on during work time. Students may seem to be oblivious but they occasionally glance up, and some move near the screen to watch quietly. In a teacher-directed art program, the artists selected for inclusion often reflect what has been taught in the teacher’s college art history class. Many lessons, such as “Van Gogh Sunflowers” or “Picasso Portraits” may mean more to adults than to the students and a steady diet can turn Studio Art into an Art Appreciation class—not what my students want from art class. In a TAB program, the students are artists. In aid of that, art history connections should draw on interests the students themselves bring to the classroom, and what the teacher sees they need to realize their ideas. The first time www.ar tsandactivities.com

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I was hired to teach an art history survey class, my mentor advised me not to cover everything; rather, teach enough that students want to come back for more. How then does a teacher choose? One way to make connections immediate is to include regional and local artists in the Five-Minute Museum. Piggybacking on the Social Studies curriculum is also effective. As a discipline, Art History encompasses several methodologies. The oldest focuses on artists, their lives and artwork. It’s common in DBAE lesson plans and still works well for younger students. Another approach is Iconology, the study of visual symbols: how certain images or motifs convey meaning, how they are transmitted or transformed within or across cultures and time. This fits the middleschool grades I teach. On the other hand, recent approaches such as Feminist, Marxist, Race, Queer or Postcolonial analyses are above my students’ cognitive levels and may best be left for a high school AP class. We’re fortunate that the new National Standards offer a place for higher level thinking and essential questions that art history can best address: 1. What does an artwork say about the religious practices, the social stratification, the patronage systems, or the culture in which it was made? 2. What was the status of artists in that society? 3. How were artists trained? 4. What makes some of them innovative, others not? 5. How can we connect to the art of the past? 6. Can we ever really understand the art of the past? 7. How do we use it as a legacy while remaking the message as our own? Technology and connectivity have transformed the art classroom in ways the creators of DBAE could scarcely have envisioned. We’re no longer tied to dog-eared old museum reproductions but can call up almost anything we need through Google Images or YouTube. True, emergent curriculum does put greater responsibility on the teacher to have a range and depth of understanding of the field, but that’s the fun of it. As TAB teachers know, we learn from our students as much as they from us. That goes for the art history strand as well. If we open ourselves to the artists, cultures and traditions they have to show us, our own knowledge and understanding will grow as well. n Linda M. Papanicolaou teaches middle-school art in Northern California’s Bay Area. She has been a TAB-Choice teacher for over 10 years and is a contributing author to the book, “The Learner-Directed Classroom: Developing Creative Thinking Skills through Art” (Teachers College Press; 2012). 9

Yearlong Secondary Advanced Art Series | AN AMPed UP CURRICULUM

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Transportation by Debi West

For this lesson, I don’t limit their use of media or surface material, as this is an advanced course and students are working on their breadth or concentration portions of their portfolios.

t seems as if everyone is always on the GO these days, so I decided to use this concept as one of my advanced student’s prompts. It was literally that simple, too. I asked my students to consider modes of transportation, make a list, do some research, do some sketching and a wonderful lesson came to fruition! They started off by creating a long list of the most obvious ways in which people get around. Cars, busses, bikes, boats, airplanes, skateboards, etc… Then I had them dive a bit deeper and create a page of sketches showing exactly how these machines work. From the gears to the engineering and design concepts, this had my students thinking like designers and forced them to consider the functions of their mode of transportation. It was interesting to see how many of them changed their initial ideas when they were required to dig a bit deeper. A 10

large part of the success of my student’s final works lies in how much research they put forth. AS STUDENTS CONTINUED TO CREATE their sketches and hone in on one specific mode of transportation, I brought in a bit of art history. I had them consider master artists who used transportation as their source of subject matter. For example, Claude Monet has an incredible series of trains and train stations, while Winslow Homer loved painting boats and sailing scenes. I have found that with some research on my part, I can give my students a plethora of information via art history and they can use that as inspiration. For this lesson I do require that my students go with a more realistic take on the subject matter, but I don’t

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From the gears to the engineering and design concepts, this had my students thinking like designers and forced them to consider the functions of their mode of transportation.

limit their use of media or surface material as this is an advanced course and students are working on their breadth or concentration portions of their portfolios. I find that my advanced students are ready to challenge and push themselves so often times it’s truly as simple as giving them a prompt and seeing how far they can go with it! I think you’ll be surprised at the results you’ll get with this concept. Next Up: “What’s Cookin’.” n A&A Contributing Editor Debi West, Ed.S, NBCT, was an art educator and department chair at North Gwinnett High School in Suwanee, Georgia. She is now involved with her two businesses, WESTpectations Educational Consulting and Crystal Collage Children’s Art Studio in Suwanee.

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INTEGRATING

the curriculum

Dreamtime Storyte

The Journey to the Campsite The Lucky Fish Once upon a time there were these three kids at a campsite. It started to rain. The kids got worried. The heavy rain got on their food so they needed to go to the lake to find food. They saw a fish in the lake. But it was too far for them to get. Then they remembered that they have a boomerang. A friend tossed the boomerang to Kryant. “Thanks Artemi,” said Kryant. He reached into the river and got the fish. Then, they killed the fish. They grilled the fish. Then they all ate the fish and pretended like the rain never even came. — Charlie

here has always been something about Aboriginal Australian art that draws me deeply into it. Maybe it’s the raw energy I feel when viewing their dot paintings or the way that their Dreamtime stories awaken my imagination. Whatever it might be, I wanted to share my love for their artwork with my fifth-grade art students.

THE LESSON: A slide presentation led our initial discussion about

the Indigeneous Australian people and how they have traditionally told stories and used symbols to create artwork about the Dreamtime, the time when they believe the world and everything in it was created. We also talked about their x-ray tree bark paintings, ceremonial sand creations and unique dot painting techniques. To further reinforce learning, I transitioned students into table groups of three to four children per table, where they could view and discuss two different prints of Aboriginal Australian art. Fifth-graders jotted down what they saw in the artworks, using terms from my presentation as well as the elements and principles of art. We then came back together as a group to share some key points from what they discovered and to figure out how they could incorporate those same elements into their own projects. 12

There were people going to a campsite. They saw snakes. They crossed through the mountains, and suffered from the heavy rain. The sun was shining in their eyes and they saw trees until they got to the campsite. — Adam A.

THE PROJECT. Students looked at handouts of Aboriginal

Australian symbols in order to help them brainstorm ideas for their own story. (You can find many printable handouts by conducting a search on Google, or you can create your own.) For students who had a difficult time creating their own stories, they were able to spark their creativity by closing their eyes and randomly putting a finger down on the symbol handout to see where it would land. After students wrote their original stories on computers, they shared the documents with me so I could print them out. On construction paper, students drew the symbols that corresponded to their stories. They cut the shapes out, arranged them, then glued them onto a 9" x 12" sheet of Shinzen handmade paper. Next, the fifth-graders used the ends of paintbrushes and tempera paint to make dots on both the background paper and the cutout shapes. By var ying dot size and layering smaller dots onto larger dots, students were able to create visual interest. ONCE THEIR DOT PAINTINGS were complete, students chose

a stick from a collection I picked up while on a nature walk. They then used a whole puncher and threaded yarn through the holes and around the sticks. so they could be displayed. I did not give much guidance as to how they should attach their paintings to the sticks because I wanted them to do a little problem-solving themselves, and I wanted their j a n u a r y 2 0 1 8 • 85 Y E A R S

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lling

by Anne M. Hoffman

The Last Turtle There once lived a turtle and he lived alone until one day an army came and attacked the turtle. People came running to help save him. Throughout the week people gave up their lives, and the turtle is still roaming the waters. Turtle remembers all the people who saved his life. The army came back and they took Turtle, and left one egg. When the egg cracked open people blessed it and he always will protect the water. — Gabby

Danger: Rainy Day It was a rainy day. Fish came out right above the surface. Turtle saw Fish come out so Turtle was trying to catch it. Snake saw Turtle come out, so Snake was trying to eat Turtle. Emu and Killer Boomerang were trying to stop them. So Emu was attacking Turtle and Killer Boomerang was attacking the snake. Then Turtle and Snake saw that Emu and Killer Boomerang were attacking them so they ran away. Killer Boomerang and Emu saved Turtle’s and Fish’s lives. — Gemma

finished pieces to vary slightly in how they hung. With all of the art materials I used in this lesson, the main focus was on natural materials, to more closely reflect Aboriginal Australian art. While the construction paper, tempera and yarn were all earth tones, the stick proved to be the perfect finishing touch to make their pieces look authentic! MY FIFTH-GRADERS LOVED THIS PROJECT as much as I did. It kept them highly engaged throughout the entire lesson. This type of art lesson can be taught any time of year and with a variety of grade levels. For younger children, you could simplify it by having them cut out larger shapes, glue them onto a larger background, and have them write a sentence or two about the story. For older children, you could have them add a lot more detail to their compositions and stories. Whatever grade level you teach, I believe your students will enjoy learning about the fascinating and beautiful Aboriginal art and will have fun creating a dot painting to go along with their stor ytelling! n

LEARNING OBJECTIVES Elementary-level students will ... • learn how the Aboriginal Australians used symbols in visual storytelling. • learn how to create their own visual stories using symbols and dot painting in the style of the Indigenous Australian people. • learn which colors are considered “earth tones.”

NATIONAL ART STANDARDS

• • • •

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

MATERIALS

• • • • • • •

9" x 12" Shizen handmade paper Tempera paint, paintbrush handles, paint palettes Construction paper, glue sticks Yarn, natural wood sticks (approximately 14–16 inches long) Hole punchers Prints of Aboriginal Australian art Aboriginal Australian symbol reference sheets

KEY TERMS Anne M. Hoffman teaches art and is the school secretary at Shabonee Elementary School in Northbrook, Illinois. www.ar tsandactivities.com

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Dot painting Earth tones

• Natural materials • Storytelling

• Symbols • X-ray images 13

The book, Nadia’s Hands served as inspiration for this lesson, in which students created their own mehndi designs. Cover from Nadia’s Hands displayed by permission of the publisher, Boyds Mills Press. Text copyright © 1999 Karen English; illustrations © 1999 Jonathan Weiner. All rights reserved.

The printing plate (left) and the print were glued side by side, creating a set of symmetrical hands on the paper.

by Rachel Motta 14

aking real-life connections for students in the art room is one of the best ways to captivate them. The student demographic I teach is extremely diverse and often inspires the lessons I teach. A number of students at the Nashville elementary school I teach at are of Muslim faith, the girls wear hijabs and, on occasion, sport “mehndi” on their hands. Mehndi, though not permanent, is reminiscent of tattoos, which many students think are totally cool. After reading Nadia’s Hands—a story about a young Pakistani-American girl —my students were able to understand how Nadia felt about shar-

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LEARNING OBJECTIVES

NATIONAL ART STANDARDS

•

Elementary-level students will … • create an original Mehndi design inspired by Indian culture. • demonstrate understanding of the artistic process of printmaking. • make connections between art and cultural traditions.

CREATING: Generate and conceptualize artistic ideas and work. • PRESENTING: Develop and refine artistic techniques and work for presentation. • CONNECTING: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.

ing an aspect of her heritage with the rest of her classmates. At first she was worried the other children would make fun of her for being different, but she finally came to terms with it.

MATERIALS

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9" x 12" watercolor paper, watercolor paints, brushes, water • Foam plates, brayers, printing ink • Pencils, scissors, hot glue/hot glue gun

HENNA AND MEHNDI are commonly

used among a variety of cultures and religions, but the designs differ between groups. Mehndi designs are painted on hands and feet using henna paste, which is created from the crushed leaves of the henna plant (Lawsonia inermis), which grows in Africa, the Middle East and Asia. The henna paste has been used for thousands of years: The ancient Egyptians used it to stain pharaohs’ fingertips before mummification. The Indian/Hindu culture uses mehndi in their wedding rituals as a means of good luck, wealth and happiness. Although mehndi is traditionally done on females, it is explained that males may wear it as well. (The boys in class are even more intrigued by the lesson when they learn this.)

MEHNDI SYMBOLS Flowers: Joy and happiness Sun/Moon/Stars: Deep,

everlasting love Water: Human emotion Vines/Leaves: Devotion Diamonds: Enlightenment Square: Stability

RESOURCES

•

Beukel, Dorine van den. Traditional Mehndi Designs: A Treasury of Henna Body Art. Shambhala; 2000. • English, Karen. Nadia’s Hands. Boyds Mills Press, Reprint edition; 2009. • Glicksman, Jane. The Art of Mehndi. Lowell House Juvenile; 1998.

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THE FIRST CLASS IS SPENT introduc-

ing the students to the concepts of mehndi using a PowerPoint presentation that includes the symbols used, why mehndi is done, and how to create a background for their prints. A wet-on-wet watercolor technique was taught to the students in creating a very translucent background for their prints. Students were also asked to choose either or warm or cool color scheme for their paintings. When students arrived for the next class, they were asked to sketch their ideas for their mehndi designs. They were to use symbols we learned about (see sidebar) and they could even create some of their own. Students then would lay their hands on a foam plate to trace, and www.ar tsandactivities.com

then car ve their design into the foam. Once their designs were completed, they rolled the foam with brown printing ink, and pressed it onto their dr y watercolor background. Once the printing plate was released, I assisted with hot gluing it opposite the print— creating a set of symmetrical hands on the paper.

This lesson could be continued with students writing about the symbols they chose for their henna designs, why they chose them and what they represent. These processes could also be incorporated into a self-portrait painting or drawing, with handprints along the bottom of the artwork. When teaching about diversity and cultures, the possibilities are many. n

AS STUDENTS BECOME ACQUAINTED

with the cultures that use mehndi and henna tattooing, they also learn about accepting others for their differences.

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Rachel Motta teaches art at Cane Ridge Elementary School in Antioch, Tennessee. 15

Tiffany Jessica Taylor

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students enlarged their chosen area to a pencil line drawing that measured 9" x 12". THE MAGIC OF THE METAL SHEET (REPOUSSÉ). The

he Taj Mahal is one of the greatest architectural wonders of our world and a symbol of great pride for the people of India. The history of the Taj Mahal was very intriguing to my fifth graders. The Mogul Empire was reaching its peak in 1632 when the Taj Mahal was first envisioned and built by Sha Jahan. The students were fascinated by the lifestyle of the young Sha Jahan, his harem and his favorite wife, the beautiful Mumtaz Mahal. The Taj Mahal was built as a tribute to Mumtaz Mahal and as a testimony of their “love story.” The Taj Mahal was completed in 1653 and is the final resting place of Sha Jahan and Mumtaz Mahal (see page 45). To insure students would have their own unique approach to their artwork of the Taj Mahal, they were taught to use “viewfinders” (6" x 9" white construction paper was used to make the finders). Each student made his or her own and chose a research picture of the Taj Mahal, which was made available to them in class. They placed the finders on the pictures and moved them around until they found an area most interesting to them. The finders were taped in place and the

students taped their drawings to a 9" x 12" 36-gauge aluminum sheet. They then placed a felt cushion under the metal and pushed down on their pencil lines with a wooden stylus to transfer their drawings to the metal sheet. A demonstration of five different tooling techniques was given, but the students had the freedom of creating a tooling technique of their own. It was explained there should be a balance between areas that were tooled and areas of the metal plate left plain. (It is a good idea to have the students sketch in their chosen techniques on their line drawings before tooling.) The five techniques shown to the students were: raised area, stippling, lines, nail heads and coils. The tools used to create these techniques were various sizes of wooden styluses and clay tools. With this information in mind, the students removed their line drawings and tooled directly on the metal plate. They soon understood, by observing and conferring with classmates, that the more successful students: (1) took their time; (2) made sure their techniques were clearly stated; (3) tooled on both sides of the metal; and (4) left some of the design space plain. Students were heard saying, “The coils look so cool

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by Barbara Hildebrandt

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LEARNING OBJECTIVES Elementary-level students will … • learn how to “tool” a 36-gauge sheet of aluminum to create low-relief repoussé. • explore and create tooling techniques for a balanced composition. • experiment with India ink patina to create depth in art work. • become aware of art-related resources outside of the classroom. • learn about the art of India, as related to the Taj Mahal. • explore the use of metallic watercolor and its complementary properties to a piece of art work.

NATIONAL ART STANDARDS

•

CREATING: Organizing and developing artistic ideas and work. • PRESENTING: Interpreting and sharing artistic work. • CONNECTING: Understanding that people from different places and times have made art for a variety of reasons.

MATERIALS Repoussé:

• • • • •

36-gauge aluminum Wooden styluses and wooden clay tools 9" x 12" felt for cushion India ink and brush to coat the metal Green kitchen scour pads for buffing

• •

15" x 18" black construction paper White colored pencils, metallic paint pens (gold or silver), metallic watercolor paint

Frame:

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Kristen Abigail

on your dome!” “How did you create the look of grass in front of the palace?” As the students worked, they were encouraging and complimentary to one another, which is a good sign of total engagement. The final step in the process was to coat the metal plate with India ink. Large brushes were used to completely cover the plate. The students were advised to avoid over-inking, which would leave puddles, prolong the dr ying time and make cleaning the plate more dif ficult. The ink should dry overnight before being buffed. Buffing the dry ink is messy and requires disposable gloves for the students. The metal plate should be buffed gently but www.ar tsandactivities.com

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thoroughly to allow the high points of the tooled techniques to project. We used green kitchen scour pads to polish our aluminum plates. CREATING A FRAME. Because Indian art is so rich in color and textures, the students researched Indian design work for their frames. The ideas they derived from their research were beautiful. Each student discovered something different and filled his or her frame with intricate or simple Indianinspired designs. The framing used was black paper measuring 15" x 18" with a 3-inch frame along the edges. The students transferred their designs in white pencil to the black paper frame. The white pencil lines were traced with gold or silver paint pens, and metallic watercolor paint was their coloring choice, continuing the rich tradition of Indian design work. When the Taj Mahal repoussés were mounted on their frames, students had completed their work. The fifth-graders were very pleased with their work and every student went home with their “masterpiece”—and a lasting memory of a beautiful architectural wonder discovered and explored in art class. n

Barbara Hildebrandt teaches K–5 art at Jefferson Elementary and Franklin Elementary Schools in Bergenfield, N.J. 17

“Draw” Like an

This close-up of Grace’s sarcophagus shows great attention to detail.

LEARNING OBJECTIVES Third-grade students will ... • discover what they already knew about ancient Egyptian culture. • learn about the ancient Egyptian mummification process and its role in the “afterlife.” • learn about King Tutankhamen’s sarcophagus. • create their own Egyptian sarcophagus. • learn to draw Ancient Egyptian symbols, hieroglyphics, and patterns, in order to decorate their sarcophagi like King Tutenhkamin’s.

Paul Lola Dominic

MATERIALS

•

12" x 18" white and assorted colors of construction paper • Crayons, water-based markers • Scissors, glue

RESOURCES

•

Boyer, Crispin. National Geographic Kids Everything Ancient Egypt: Dig Into a Treasure Trove of Facts, Photos, and Fun. National Geographic Children’s Books; 2012. • Carter, Howard and Mace, A.C. The Discovery of the Tomb of Tutankhamen (Egypt). Dover Publications; Unabridged Reprint edition; 1977. • Gibbons, Gail. Mummies, Pyramids, and Pharaohs: A Book About Ancient Egypt. Little, Brown Books for Young Readers; 2004. • Video: King Tut and His Treasures for Kids: Biography of Tutankhamen, Discovery of his Tomb (https://youtu.be/dmkDPaHSBzg).

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Egyptian by Megan Giampietro

he third-graders at our school know a lot about ancient Egyptian culture, and they are fascinated by some of the mysteries and secrets that were left behind in the ancient tombs of the pharaohs. When asked what they knew about ancient Egyptian burial practices, the answers came flying with hand after hand raised. With excitement, they shared information, adding to the puzzle that would become this lesson: Students would be creating their own colorful Egyptian sarcophagi that were decorated with the patterns and mysterious symbols of the hieroglyphics.

THE PRIORITY PIECES THAT THE ARTISANS BUILT were the

incredible, colorful, patterned and golden “sarcophagi,” which held the mummified bodies. The most famous sarcophagus, which inspired the students for their own drawings of sarcophagi, was the one made for the boy-king Tutankhamen (King Tut). Its discover y by archaeologist Howard Carter in 1922 astonished the world, and the tomb still holds many secrets and mysteries today. After viewing pictures of King Tut’s beautifully patterned sarcophagus, and learning about the symbols of the Egyptian language known as “hieroglyphics,” the students were ready to make their own sarcophagi! They looked at the patterns, the birds, the striking

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the outside shape of King Tut’s sarcophagus. They practiced drawing the Egyptian eyes on the death mask, and created the outer portion of the King’s mask. After drawing the faces, the next challenge was to design the body portion of the sarcophagus. Intricacy was the word to describe the patterns and symbols that would make their sarcophagi as amazing as the ancient Egyptian artiDavid sans’. Choosing the right colors was equally important, and the students knew that the ancient artisans relied on materials they garnished from plants and minerals from the earth, as well as semi-precious stones, and the shimmering gold that the artifacts of King Tut are famous for. WE TALKED ABOUT SYMMETRY and dividing the sarcophagus shape into sections so students could plan and organize their symbols and patterns. They used black permanent markers for the details, and markers and crayons for the rich colors that add to the beauty and mystery of the Egyptian sarcophagi. They made rows of different kinds of Egyptian patterns, adding symbols in some sections that were distinctly Egyptian, and had special meaning to the students. They added details of gold using gold permanent markers, to add the shimmer and excitement that Howard Carter and his team experienced when they realized what their lanterns were illuminating when they opened his tomb. Once the drawings were completed the students cut them out so that they could mount them on richly colored paper, giving their Egyptian sarcophagi a backdrop worthy of a pharaoh like the young King Tutankhamen. n

Megan Giampietro teaches art at Stephen Decatur Elementary School in Philadelphia.

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FIRST, STUDENTS DREW

THE STUDENTS KNEW A GREAT DEAL about the fascinating mummification process. They talked about how the organs were removed from the body and stored in canopic jars for use in the afterlife, and how the brain was removed through the nose! They also talked about how the body was specially treated with burial spices and palm wine to help preserve the body, before being carefully wrapped in strips of linen cloth. Most importantly, the students knew that this meticulous and elaborate process was intended to prepare the person for the afterlife, and that the Egyptians took great care of their deceased. One of the mysteries the students unraveled was that there were many artisans who created beautiful paintings on the walls of the tombs, built sculptures and furniture, and the most beautiful, colorful jewelry wrought by hand.

Egyptian eye, and other patterns and symbols. It was important to the students that their sarcophagi had special meaning, just as they did to the ancient Egyptians.

januar y 2018

China

Saudi Arabia

Africa

CELEBRATE DIVERS by Jody Reynolds

LEARNING OBJECTIVES Fourth-grade students will … • learn about basic facial proportions • understand the importance of drawing what they see • understand that art is a form of expression • draw a portrait of someone representing their culture • learn different transfer methods and apply them in their portrait

NATIONAL ART STANDARDS

Student working on portrait representing her Swedish heritage.

MATERIALS

• •

Variety of books on various cultures Graphite pencils, chalk, colored pencils, thin markers • 12" x 18" newsprint and colored construction paper • Scissors, glue • Optional items: mirrors, light box, assorted embellishments (beads, tissue paper, etc.) 20

• • •

CREATING: Create works of art that reflect community cultural traditions. Synthesize and relate knowledge and personal experience to make art. ENDURING UNDERSTANDING: Through art-making, people make meaning by investigating and developing awareness of perceptions, knowledge and experiences. ESSENTIAL QUESTIONS: How does engaging in creating art enrich people’s lives? How does making art attune people to their surroundings? How do people contribute to awareness and understanding of their lives and lives of their community through art-making?

ow would you respond to someone who looked, believed and responded differently from you? How do personal experiences impact art? As an art teacher, I feel blessed to be in a profession that not only openly accepts differences, but celebrates them. With today’s changing world, one of the most important and relevant skills I can teach my students is to think outside the box and express themselves by creating unique artwork based on individual experiences. Sharing artwork with others encourages our community to engage in embracing cultures apart from one’s own. In light of today’s social climate, now is the time to embrace and celebrate our rich heritage and experiences with each other. That is exactly what we strove to achieve with our first “International Passport Night.” During the evening, families came to share information, food, pictures,

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India

Sweden

Philippines

ITY! Embracing Our Rich Heritage dress, and other traditions of their culture. Our school has quite a diverse student population. With almost half of our student population falling into various minority categories, we have more than a dozen different countries represented. IN PREPARATION FOR THE EVENT, my

fourth-grade students created â&#x20AC;&#x153;Heritage Portraits.â&#x20AC;? Beginning with a lesson on portraits, students were asked to find out more about their heritage by discussing it with their families before returning the following week. The children began their portraits on newsprint, incorporating traditional clothing into their work. I had a variety of books and pictures to help as visual aids, clarifying that drawings had to be original. Mirrors were also provided so that students could look carefully at feature details. Once the drawing was completed, www.ar tsandactivities.com

they began the transfer process. There were two different methods that could be used to transfer images onto construction paper. One way involved the use of a light box to trace the shapes;

... now is the time to embrace and celebrate our rich heritage and experiences with each other however, this was possible only if the construction paper was light enough in color to be transparent while on the light box. The other option was one with which my students were not familiar. Chalk was applied to the back of the newsprint drawing. The shape was traced onto the construction paper, similar

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to a carbon copy. This concept was a challenge for some students, but they soon became enthused upon seeing the results. To finish the project, each child had the opportunity to add details of their choice, making the final result unique and more meaningful to their individual heritage. Our first International Passport Night was a huge success, so much so that we are planning to make it an annual event. Fourth-graders were proud to share their artwork as part of the celebration and have been an inspiration for me to continue creating projects to celebrate diversity. I encourage you to consider using your art room as a place for expression, encouragement, and celebration. n Jody Reynolds teaches art at Shenandoah Valley Elementary School in Chesterfield, Missouri. 21

Art and ELL by Irv Osterer

MATERIALS

•

Watercolor, ink

• Paper

LEARNING OBJECTIVES High-school students will ... • create a free ink and watercolor illustration of a consumer product. • set text for a magazine ad in a language other the English. • demonstrate that they can integrate image and text in a magazine format layout.

Emad. Arabic, “Cleans Everything!”

recent study* suggested that students who come from homes where English is not spoken are often at a disadvantage in our school system. In the Metro Toronto area, 53 percent of all students speak a language other than English at home. The data suggests similar patterns across the province. At the time, my grade 11 graphic design class mirrored the profile. Without knowing family histories, one would often not have any indication that these are ELL students. In visual art classes these English Language Learners usually perform quite well. But, while their spoken command of English can be impeccable, it is the other parts of the educational spectrum that may be at risk. The difficulty lies in identifying these learners and providing the intervention needed to help them. And as in the general school population, within the ELL population, there will be some who struggle more than others, for a wide variety of reasons. The fine arts offer fewer boundaries for ELL kids as the structure of our studio classes is substantially different. Evaluation for applied design courses routinely focus on the experiential trial-and-error exercises, as well as the product that addresses the design criteria rather than a lot of formal reading and written work. Most art, music and drama is performance oriented and done in class and as such, difficulties can easily be addressed by the teacher. With this report in hand, I thought it would be interesting to take our Graphic Design summative in a different direction. This end-of-semester assignment probes the student’s ability to successfully integrate text and image. For the visual portion of this problem, students were to choose a consumer item from our local supermarket and render it in watercolor and ink without mechanical aids of any kind. The class was then asked to arrive at a catchy phrase

Natalia. Spanish, “A ‘Twist’ that can't be resisted.”

Andra. Finnish, “North Americans cannot handle this stuff.” Brian. French, “This is my summative project.”

for the product and to set all their accompanying text in a language other than English in a magazine format full-page ad. The group was excited about this approach, and even though most Canadian kids have familiarity with French, many went to European and Asian relatives for language assistance. For our ELL students, it was a chance to use the language spoken at home in a classroom setting and to share their culture in a visible way. The layout and design portion of this exercise was not compromised in any way—and with respect to the type, the variables of letter spacing are true in any language. The product illustrations were terrific and it was fascinating to see assignments set in Hebrew, Arabic, Amharic, French, Hungarian, German, Finnish, Swedish, Spanish and Korean. Everyone was curious about the meaning of each and students were proud to share their heritage language with their peers. n

* Adelson, Geva and Fraser, Identification, Assessment, and Instruction of English Language Learners with Learning Difficulties in the Elementary and Intermediate Grades. A guide for educators in Ontario school boards. (University of Toronto, Ontario Institute for Studies in Education; March, 2014.)

Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada.

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A&A Art Print: Respond and Connect Oscar Soteno. Tree of Life With Theme of Handcrafts, 2009.

“Feelings are very important when one sits in front of the clay. It is necessary to put your heart into the work. To lose our arts and crafts is to lose a part of our culture.” Oscar Soteno

MAIN VISUAL ART CONCEPTS: Color • Volume • Unity • Variety SCIENCE/CERAMIC PROCESS: This Tree of Life, which celebrates Mexican handcrafts, is made of low-fire earthenware clay. Oscar Soteno sculpts many of its small elements by hand. Often, he makes focal objects separately, and then attaches them (either directly or with wire) to the bigger sculpture. Once assembled, he fires the whole piece in a gas kiln for three hours at 650 degrees C (1202 degrees F), which is somewhere between Cones 020 and 019. Soteno says they fire one big piece along with about 10 smaller pieces in the same kiln. Once fired, he and his wife, Maria, paint the pieces with acrylic paints.

• •

ART CONCEPTS IN DESIGN: The Mexican Tree of Life began when Spanish friars asked indigenous potters to create candelabras out of clay. The styles evolved over the years. At first, the candelabras depicted stories from the Bible. Eventually, many these sculptures lost the candelabra function; artists began focusing on a thematic and narrative approach to their Trees of Life. Most Trees of Life still have strong biblical elements (most notably Adam and Eve, Jesus and the Virgin Mary), along with flowers, leaves, birds and animals.

MEXICAN HANDCRAFTS REPRESENTED

Amate bark paintings from the state of Guerrero. Here are two styles: the piece on the left imitates designs originally found on pottery. On the right is a narrative scene of bull riding or bull fighting. Chinese Urn: Between 1565 and 1815, the Manila Galleon trade routes brought Chinese goods through the Mexican port of Acapulco. The artistic cross-cultural influences can still be found today in Mexican art and culture. Alebrije (pronounced Ahl-ey-BRI-hay): a fantastical creature, originally from Oaxaca, carved from wood of the Copal tree and colorfully painted. Sometimes they are made of papier-mâché on very a large scale and displayed in festivals and parades. Various wooden masks are from the states of Guerrero and Michoacán. Jaguar: In the state of Chiapas, some artisans are known for their awardwinning clay sculptures of jaguars.

•

Miniature Tree of Life within: Soteno says this is his favorite element within this Tree of Life. Although it may appear to be Noah’s Ark, Soteno says that it only looks like that because trees of life contain many animals and plants. Wooden Spoons: could symbolize wood carving, but also traditional cooking. Day of the Dead skeleton candelabra: In Mexico, the Day of the Dead is celebrated November 1–2 in honor of one’s ancestors. Red and black lacquered wood box from the city of Olinalá in the state of Guerrero. Gabán: Similar to a poncho in form, and with the function of an overcoat, this represents a “gabán” from Gualupita Yancuitlalpan or Xonacatlán, both in Mexico state. These elaborate weavings often have borders with geometric characteristics and a more complicated image in the center. Craftsman’s signature: At the base of the sculpture, Soteno has signed his name, “Oscar Soteno E., Metepec, Mex.” The “E.” stands for Elias, his mother’s last name. His full name is Oscar Martin Soteno Elias.

• • • •

•

• •

ART HISTORICAL CONTEXT: In the 1930s, Modesta Fernández (wife of Dario Soteno) began making whistles shaped like animals. Her work developed into “trees of life.” She taught her children, who taught their children. Now the Soteno family has a huge business in Metepec, Mexico. Oscar Soteno, Modesta’s grandson, says that passing on the tradition is important to him and his family. He says, “It would be my biggest dream that they would carry on the tradition.” The whole family and extended family collaborates. Oscar forms the ceramic elements by hand. He says his wife does most of the painting, but he adds fine details. Other family members help as well.”

• •

MUSICAL REFERENCES: Maracas: Wooden shakers, often made of a gourd filled with seeds, beans or pebbles. Mermaid playing the guitar or ukulele.

•

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

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JANUARY 2018

Museum of Artes Populares, Mexico City. Reproduced with permission of the artist.

Oscar Soteno (Mexican; b. 1971). Tree of Life with Theme of Handcrafts, 2009. Earthenware clay.

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

GRADES K–6

GRADES 7–12

TREE BIRDS At the top of Oscar Soteno’s Tree of Life, is a figure

BRANCHING OUT WITH CULTURAL CONNECTIONS Trees

holding two traditional-looking Amate (pronounced “ah-MAH-tay”) bark paintings. The paper is made primarily in central Mexico, in San Pablito, in the state of Puebla. Amate paper is created from the inner bark of a type of fig tree. It is boiled, pounded and arranged on special boards to dry in the sun.

sustain life on earth, and often serve as an artistic metaphor for growth, life and death. This year, the Jewish “New Year for Trees” or Tu B’Shevat, will be celebrated on January 31, 2018. According to teacher Rebecca Ganz, “The Jewish holiday of Tu B’Shevat is a celebration of trees, growth and renewal. For this project, we discussed as a class the metaphorical significance of not only trees, but of their roots as well, pointing out that both above and beneath the surface lies strength and important value. Students were inspired by the tree paintings of contemporary artist Eli Halpin and created their own unique trees full of meaning and voice.”

Valerie Duncan’s fifth-graders created the pieces above when she taught at International Studies Magnet School in Jonesboro, Arkansas.

The students started their drawings on brown paper bags, and then crumpled them up to create lots of physical texture. After ironing the papers, students painted with dense tempera paint, which retains a matte surface. After the paint was dry, they outlined their images and added details with permanent black marker. Duncan says this lesson works well for students of all ages. When asked what she might do differently, Duncan replied, “I would encourage students to paint objects, plants or animals that they are familiar with.” How would you adapt the lesson to suit your teaching objectives? NATIONAL ART STANDARDS: Grades K–6 ENDURING UNDERSTANDING: Artists and designers shape artistic investigations, following or breaking with traditions in pursuit of creative art making goals. CREATE: Combine ideas to generate an innovative idea for art making. RESPOND: Identify and analyze cultural associations suggested by visual imagery.

How to use the A&A Monthly Art Print: Carefully unbend the staples at the center of the magazine, pull the print up and out of the magazine. Rebend staples to keep magazine intact. Laminate the pulled-out section

Artwork by eighth-grade students of art teacher Rebecca Ganz at Davis Academy Middle School in Sandy Springs, Georgia.

Teachers often take seeds of inspiration from other artists and “cultivate” them by adapting new lessons and artwork. In preparation for these fabulous works, Ganz says, “Students practiced drawing trees in their sketchbooks first then moved on to their final pieces. Practicing first to get comfortable with the fluid treatment of the shapes within the tree … really helped. On their final pieces, they focused on balanced compositions, limited color palettes, and variation within the unity of the tree/root elements. Various watercolor techniques were explored for the trees as well as the backgrounds.” NATIONAL ART STANDARDS: Grades 7–12 ENDURING UNDERSTANDING: People develop ideas and under-

standings of society, culture, and history through their interactions with and analysis of art. CREATE: Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art making or designing. RESPOND: Interpret art by analyzing how the interaction of subject matter, characteristics of form and structure, use of media, art-making approaches, and relevant contextual information contributes to understanding messages or ideas and mood conveyed.

and use it as a resource in your art room. — Editor 26

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COMMUNITY

William Papaleo, “Returning to the Source.” From the label: “It symbolizes the regenerating possibilities for Waterbury through art. It also symbolizes the city’s return to its roots through metal.”

connections

On the Trail of

Calder by Suzanne Dionne

f you have an interest in Alexander Calder’s sculptures, then plan a visit to Waterbury, Connecticut, where he constructed many of them at Segre’s Iron Works. A native of Waterbury, I can still remember when I was a child riding in the car with my parents and passing by the enormous red-orange colored Stegosaurus. Completed in 1972, Stegosaurus is viewable at the Wadsworth Antheneum in Hartford, Connecticut. Brass and metal factories have been a prominent part of Waterbury’s industrial history, as it is often referred to as the “brass city.”

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Five internationally known artists from Italy have paid tribute to Calder, working in his style of art. Their five amazing sculptures will add to the revitalization and beautification efforts of the city. This is an example of public art at its best. On the Trail of Calder has been publicized through print and broadcast media, as well as on Facebook. This project was made possible through many sponsors, contributors and organizers. Through a grant, the artists were provided transportation to Waterbury, where they stayed for one month working in an old factory located on Freight Street. The artists have donated the huge, steel sculptures to the city. THREE SCHOOLS HELD FIELD TRIPS, so

Vincenzo Liguori, “Sleeping Giant.” From the label: “It resembles a giant smoke stack, honors Waterbury’s industrial past, and recalls Italy’s volcanoes. The mobile on top is red, white, and blue, the colors of the American flag.”

students could observe the artists at work. Having had this experience, students can write in art journals about their interactions with the artists, what was learned, what they felt was inspirational, and so on. An art lesson might include research, planning, and sketching a sculpture that might be placed in students’ neighborhoods or school area. They might be challenged to create miniature sculptures or mobiles that could be publicly exhibited. Always be on the lookout for art events in your area, some of which may appear in the newspaper. Your state art education association is a great place to start, or state art agency. Contact your libraries, museums, colleges, and art galleries. There may even be an arts league in your area as well. Get in touch with your town or city to see if

NATIONAL ART STANDARDS

•

CONNECTING: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. • ENDURING UNDERSTANDING: People develop ideas and understandings of society, culture, and history through their interactions with and analysis of art. • ESSENTIAL QUESTIONS: How does art help us understand the lives of people of different times, places, and cultures? How is art used to impact the views of a society? How does art preserve aspects of life?

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

People of all ages came to an Open Studio at the warehouse where the artists were working. Art was everywhere: Sketches, drawings and paintings brought color to the building’s old wooden walls, small models of the sculptures, books, and pictures were placed on tables. The public conversed with the artists and people were engaged in discussions around the towering sculptures, which were still works in progress. j a n u a r y 2 0 1 8 • 85 Y E A R S

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Raffael Falcome peering from behind his sculpture, “Corno.” an Italian amulet that is believed to protect the wearer from evil.

Eduardo Gionnattasio and his “Mare Nostrum” (“Our Sea”). From the label: “The work is a tribute to Alexander Calder’s mobiles but also fitting for Waterbury as a river city. The symbolism behind the sculpture is that one sea unites humanity.”

they have a calendar of events. On Facebook, you can look on your page for Explore–Events. There is even a filter for art events. Also, under groups, then clicking discover, you can find neighborhood and community and arts and culture groups that you can join for more information. Students can also be asked to investigate the art history of their town. There are also many online museums that offer virtual tours. If a field trip is not possible, then this might work for you. I plan on visiting the areas where the sculptures in this article are being placed and either photographing and/ or videotaping and sharing that with my students. THE COMMUNITY WAS OFFERED an

Deborah Napolitano with her work-inprogress, “Off Beat.” From the label: “It reflects Alexander Calder’s love of the circus and circus sculptures. The piece is meant to inspire us to walk to a different beat.” www.ar tsandactivities.com

exciting opportunity to attend an open studio. Hundreds of people, of all ages, came to the event. Art was everywhere. Sketches, drawings and paintings brought color to the building’s old wooden walls. Small models of the sculptures, books, and pictures were placed on tables. The public could converse with the artists who were present. People were engaged in discus-

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sions around the towering sculptures which were still works in progress, yet near completion. Some could not resist touching the metal. Even the artists’ materials were in place, ready to resume work … painting, welding … sparks are flying! Eduardo Giannattasio, a painter, has created Mare Nostrum, which is Latin for “Our Sea.” This artwork complements Calder’s mobiles. Its meaning is that “one sea unites humanity.” The artwork will be placed at the YMCA, located on West Main Street. Older students can be asked, “What do you think unites all of us? Can you express that through art?” Deborah Napolitano’s work “Off Beat” replicates Calder’s love of circus sculptures. The implication of the sculpture is “to inspire us to walk to a different beat.” This artwork can be found at the Travel Center in the Buckingham Garage on Bank Street. Napolitano is a designer and sculptor. LESSONS ON MOBILES and Calder’s art-

work of the circus can be found in the March/April 2016 issue of Scholastic see

CALDER

on page 44 29

media reviews

AUDIOVISUAL BOOK/PRINT Jerome J. Hausman • Paula Guhin

HOW TO DRAW WITH A BALLPOINT PEN: Sketching Instruction, Creativity Starters, and Fantastic Things to Draw, by Gecko Keck. Quarry Books, $22.99. Sometimes the common ballpoint pen gets a bad rap as an art tool, but in truth it’s inexpensive, convenient, and easily obtained. And the artwork done in this medium can be amazing. Artists of all ages, even the very young, can practice what author Keck calls “microcosms,” converting basic shapes or lines into finished mini-pictures. For example, a circle becomes a wheel. The small icons mentioned above (mini-drawings) appear in several projects in the book as pictograms. The author also presents logos and abstract art as design activities. One meticulous

lesson, done on graph paper, involves the time-consuming reproduction of values as pixels. If that seems advanced, please note that one of three levels of difficulty accompanies each venture. Simple undertakings include gradation exercises and line labyrinths, while the typography pages fall in the middle. Crazy Collages, a youcan-do-it task, is a medium challenge as well, and Keck’s illustrations are sure to please. “Gecko Keck” is a nom de plume; the skilled and accomplished author’s real name is Gerhard Wörner. His illustrated table of contents is another delight. He offers direction on perspective and a number of techniques such as frottage and the scribble method. The use of fantasy in this book will trigger sparks of ingenuity, especially in young artists (designing futuristic homes or palaces, sci-fi landscapes, ornamental fish, and more). Some of the surfaces the author uses are

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unusual: We’re accustomed to mail art on envelopes, but how about a dirty old tote bag, a paper towel or roll of toilet paper? If this review seems to glow with praise, it’s partly because the book tickles the funny bone. But it’s also because the artwork impresses, and all in ordinary ballpoint pen.–P. G. CREATIVE REVOLUTION: Personal Transformation through Brave Intuitive Painting, by Flora Bowley. Quarry Books, $24.99. The author of this earnest paperback throws a lot of heart and soul, and a little yoga, into her writing. She’s ardent about her instinctual, spontaneous approach, and fervid to teach others how to change themselves and their thought processes. Creative Revolution is similar in many ways to a previous book of hers, Brave Intuitive Painting. They both contain zesty, energetic examples of her work, although readers should not expect as many of those this time around. Instead, one finds quite a few full-color photos of her workshop participants, paintbrushes, hands holding paintbrushes, or other painty hands. As a self-described “truth-seeker,” Bowley is interested in massage therapy and the present moment … in evolving personally and healing holistically through self-expression. She concentrates on art as medicine rather than creating a painting how-to book, although there are informative pages on layering, color, and contrast. Finger- and foot-painting are just two ways the author encourages selflove through abandon. Painting can be whimsical and joyous; on that we’re all agreed. With no formula in mind, practicing unpredictability and free-spiritedness is no doubt a thrill for many.–P.G.

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shop talk

SAX ARTS & CRAFTS Available from Sax Arts & Crafts is this 9" x 12" Multicultural Construction Paper from Pacon. This art and craft paper features 10 creative shades and reflecting the rich variety of skin colors found around the world. This practical paper features strength, brightness and longevity. Paper is sold as 50 allpurpose sheets per pack.

GRAPHIC DISPLAY SYSTEMS For over 39 years, Graphic Display Systems has manufactured affordable wire mesh display panels, print racks, tabletop displays and many accessories for schools, artists and craftsmen to display their work in a professional manner. The company provides artists and craftsmen a lightweight, durable, and easy-to-assemble display panels.

FABER-CASTELL USA From Faber-Castell® comes “Do Art My World of Art.” Imagine a world, then create it! Paint, draw and design on your very own globe, using quality art products. Create continents, oceans, rivers, countries, etc. Set includes globe, canvas stickers, watercolor paint, acrylic paint, duo-tip markers, 3-D metallic paint and more

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plywood AS A

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Buyer’s Guide 2018 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!

AMACO/Brent 800-374-1600 www.amaco.com BR CE CT FN HC SA SH SP

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

Aardvark Clay & Supplies 714-541-4157 www.aardvarkclay.com CE SP

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

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Academy of Art University 800-544-2787 www.academyart.edu SH

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

ACMI www.acmiart.org 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

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

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Art to Remember 800-895-8777 www.arttoremember.com FD HC Art Trek 415-868-9558 www.arttreks.com SH 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

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

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

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

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

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

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

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

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

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

Fasteners4schools.com 800-876-9922 www.fasteners4schools.com AD CT HC

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

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

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

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

Daler-Rowney, USA 609-655-5252 www.daler-rowney.com BR DG EP FN GR HC PC PR PS PT SH

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

Chesapeake Ceramics LLC 800-962-9655 www.ceramicschoolsupply.com CE

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

D’Ambruoso Studios 203-758-9660 www.samdambruoso.com SH

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

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

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

Debcor, Inc. 708-333-2191 CE FN

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

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

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

Diversified Woodcrafts 877-348-9663 www.diversifiedwoodcrafts.com FN

Continental Clay Co. 800-432-CLAY www.continentalclay.com AB AD BR CE DS FN HC JM PC PT RS SA SH SP

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

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

Copic Markers www.copicmarker.com AB DG DR Corcoran Coll. Art & Design 202-639-1783 www.corcoran.gwu.edu 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 Crayola 800-272-9652 www.crayola.com CY DG HC PT SP

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

Faust Ink, Inc. 908-276-6555 www.faustink.com PR PT

The Folding Art Horse 909-596-2180 www.thefoldingarthorse.com FN Frame Fit Co. 800-523-3693 www.framefit.com FR F & W North Light Book Club 800-448-0915 www.fwmedia.com PB

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

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

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

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

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

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

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

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

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

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

Giffin Tec Inc. 800-445-2997 www.giffingrip.com CE

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Glue Dots Int’l.(GDI) 888-688-7131 www.gluedots.com AD HC Gold’s Artworks 800-356-2306 www.goldsartworks.20m.com PC

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

Golden Artist Colors 800-959-6543 www.goldenpaints.com CY PT

Imagination Int’l Inc. www.iii.global/iii-academy SH

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

Incredible Art Department www.incredibleart.org PB Inovart Inc. 800-292-7622 www.inovart.net CA CT DG EP FR HC LO PR RS Interlochen Center For Arts 800-681-5912 www.interlochen.org SH

J Jack Richeson & Co, Inc. 800-233-2404 www.richesonart.com AV BR DG DS EP FN HC PC PR PS PT SH SP

Great Lakes Clay 800-258-8796 www.greatclay.com AB AD AV BR CE FN HC SA 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

Groovy Tools LLC 502-859-5070 www.groovy-tools.com CE CT HC SH SP

Jiffy Mixer 800-560-2903 www.jiffymixer.com CE PT

J&J Display 800-347-2008 www.jjdisplay.com AD DE Jones Publishing, Inc. 800-331-0038 www.jonespublishing.com CE HC PB

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

JourneyEd 800-874-9001 www.journeyed.com CO DR GR

Haystack Mountain School of Crafts 207-348-2306 www.haystack-mtn.org SH Hemlocks Studio 828-885-2831 www.hemlocks.com SH

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

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85 Y E A R S •

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

Laguna College of Art & Design 949-376-6000 www.lcad.edu SH Laguna Clay Co. 800-452-4862 www.lagunaclay.com AB AD AV BR CE FN HC PT SA SP Lightfoot Ltd, Inc 951-693-5165 www.lightfootltd.com AV CO DG EP FN PC SA SH Liqui-Mark Corp. 800-486-9005 www.liquimark.com DG HC Liquitex Artist Materials 888-422-7954 www.liquitex.com AB AD GR HC PT SP L & L Kiln Mfg., Inc. 800-750-8350 www.hotkilns.com CE HC JM SG

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

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

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

januar y 2018

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

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

Midlantic Clay 856-933-0022 www.midlanticclay.com CE Midwest Products 800-348-3497 www.midwestproducts.com AD CT HC SH Minn. Coll. Art/Des. Rm M105 612-874-3765 www.mcad.edu SH Minnesota Clay USA 952-884-9101 www.mnclay.com AB BR CE SA SP MKM Pottery Tools 920-830-6860 www.mkmpotterytools.com CY FN HC SP Modern Art Museum of Ft. Worth 817-738-9215 www.themodern.org SH Molly Hawkins’ House 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.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 CE 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

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 Peninsula Art School 920-868-3455 www.peninsulaschoolofart.org SH The Pennsylvania State University 814-865-6570 www.worldcampus.psu.edu SH Pentel of America 800-262-1127 www.pentel.com DG DR Perfectone Mold Co. 800-828-2634 www.perfectonemolds.com HC SP Peter Pugger Mfg. 707-463-1333 www.peterpugger.com CE FN Peters Valley Craft Center 973-948-5200 www.petersvalley.org SH Phelps Publishing 216-752-4938 www.phelpspublishing.com DG HC PB Picasso People 716-684-0244 www.picassopeople.com SH PMC Connection 866-762-2529 www.pmcconnection.com BR HC JM Polyform Products 847-427-0020 www.sculpey.com CE HC SP

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

R 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

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

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

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

Rocky Mtn. College of Art & Design 303-753-6046 www.rmcad.edu SH

Sierra Nevada College 775-831-7799 www.sierranevada.edu/workshops SH

Royal & Langnickel Brush Mfg. 219-660-4170 www.royalbrush.com BR CE EP HC PS PT

Silver Brush, Ltd 609-443-4900 www.silverbrush.com BR

Royalwood Ltd. 800-526-1630 www.royalwoodltd.com FI HC LO

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

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

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

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

Skutt Ceramic Products 503-774-6000 www.skutt.com CE FN JM SA SG SP Smith-Sharpe Fire Brick Supply 612-331-1345 www.kilnshelf.com CE

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

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

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Socwell LLC www.4clay.com CE Spectrum Glazes, Inc. 800-970-1970 www.spectrumglazes.com CE PT Speedball Art Products 800-898-7224 www.speedballart.com CA DG PC PR PT RS 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

Tandy Leather Factory 817-872-3200 www.tandyleatherfactory.com HC LT Taos Art School 575-758-0350 www.taosartschool.org SH Tara Materials 800-241-8129 www.taramaterials.com BR FR PC PH PT Teachers College Columbia Univ. 212-278-3270 www.tc.columbia.edu SH Teachers, Art Center College 626-396-2319 www.artcenter.edu/teachers SH Testors Corp. www.testors.com AB BR PT Texas Pottery 800-639-5456 www.texaspottery.com BR CE HC SH SP

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

U Union Rubber Co. 800-334-8219 www.best-testproducts.com AD United Art and Education 800-322-3247 www.unitednow.com AB AD BR CA CE CT CY DG DR DS EP FI FN HC JM LO PC PR PS PT SG SP

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

University of the Arts 215-717-6000 www.uarts.edu SH

Women’s Studio Workshop 845-658-9133 www.wsworkshop.org FI SH

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

Woodstock School of Art 845-679-2388 www.woodstockschoolofart.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

Wyland Foundation www.wylandfoundation.org DE

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

Video Learning Library 541-479-7140 www.art-video.com AV Visual Manna 573-729-2100 www.visualmanna.com DG GR PB PT

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Zebra Pen 800-247-7170 www.zebrapen.com DG

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!

Product Categories * Denotes “equipment and supplies”

(AB) AIRBRUSH American Ceramic Supply 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 Bailey Ceramic Supply Blick Art Materials The Color Wheel Co. Coyote Creek Productions Getting To Know, Inc. Great Lakes Clay 37

Jack Richeson & Co, Inc. Laguna Clay Co. 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 38

Aves Studio Axner Pottery Supply 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 Ohio Ceramic Supply, Inc. Olsen Kiln Kits Olympic Kilns The Original Hi Roller Orton Ceramic Foundation Paragon Industries, L.P. PCF Studios, Inc. Peter Pugger Mfg. Polyform Products 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 Lightfoot Ltd, Inc Wacom Technology Corp. Welsh Products, Inc. (CT) CUTTING INSTRUMENTS AMACO/Brent American Ceramic Supply Co. Armada Art, Inc. Bamboo Tools Blick Art Materials 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 (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 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 (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 Faber-Castell USA j a n u a r y 2 0 1 8 • 85 Y E A R S

General Pencil Co. Grafix Hash, Inc. Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Lightfoot Ltd, Inc Liqui-Mark Corp. Madison Art Shop Martin/F. Weber Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Pentel of America Phelps Publishing Sakura of America Sanford Corp. 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. Zebra Pen (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 (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

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(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. 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 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 Diversified Woodcrafts Euclid’s Elements 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 www.ar tsandactivities.com

North Star Equipment Orton Ceramic Foundation Peter Pugger Mfg. Runyan Pottery Supply, Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. (FR) FRAMES/MATS Artisan Art Supplies Wholesale 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 Earth Guild Ed Hoy’s International Elmer’s Products, Inc. Faber-Castell USA Fasteners4schools.com Fiskars

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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. Jacquard Products Jones Publishing, Inc. Krylon Products Group Laguna Clay Co. Liqui-Mark Corp. Liquitex Artist Materials L & L Kiln Mfg., Inc. Madison Art Shop Makit Products Inc. Mayco Colors Midwest Products MKM Pottery Tools Molly Hawkins’ House National Artcraft Co. Olympic Kilns Perfectone Mold Co. Phelps Publishing PMC Connection Polyform Products Rockland Colloid Royal & Langnickel Brush Mfg. Royalwood Ltd. Roylco Runyan Pottery Supply, Inc. 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. F & W North Light Book Club Getting To Know, Inc. Getty Trust Publications Incredible Art Department Jones Publishing, Inc. Kids Can Press Martin/F. Weber National Art Education Assoc. Orton Ceramic Foundation Phelps Publishing 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 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 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. (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 (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. 40

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 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 (RS) RUBBER STAMPS American Ceramic Supply Co. Arnold Grummer’s Paper Making BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC Continental Clay Co. Florida Clay Art Co. Inovart Inc. Jacquard Products Runyan Pottery Supply, Inc. Sax/School Specialty Speedball Art Products U.S. Artquest, Inc. (SA) SAFETY EQUIPMENT AMACO/Brent American Ceramic Supply Co. Bailey Ceramic Supply Blick Art Materials Continental Clay Co. Earth Guild Ed Hoy’s International Florida Clay Art Co. Great Lakes Clay Laguna Clay Co. Lightfoot Ltd, Inc Minnesota Clay USA Nasco Arts & Crafts Orton Ceramic Foundation Runyan Pottery Supply, Inc. Sheffield Pottery Skutt Ceramic Products Vent-A-Kiln Corp. (SG) STAINED GLASS American Ceramic Supply Co. Ampersand Art Supply Blick Art Materials 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 ACMI Activa Products, Inc. Alfred University AMACO/Brent American Academy of Equine Art American Ceramic Supply Co. Ampersand Art Supply Arrowmont Sch. of Arts/Crafts Art Institute of Southern Cal. Artisan Art New England Workshops The Art of Education Artsonia Art Teacher on the Net Art Trek Axner Pottery Supply Baltimore Clayworks 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. Imagination Int’l Inc. Interlochen Center 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 j a n u a r y 2 0 1 8 • 85 Y E A R S

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 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 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 www.ar tsandactivities.com

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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 162, SEPTEMBER 2017–JANUARY 2018

ART APPRECIATION/ART HISTORY A&A Art Print: Animal Locomotion, Plate 733, Eadweard Muybridge, Nov., p.19 A&A Art Print: The Brooklyn Diner, Ian Berry, Dec., p.19 A&A Art Print: A School for Boys and Girls, Jan Steen, Sept., p.23 A&A Art Print: Tomb of Hafez, Oct., p.19 A&A Art Print: Tree of Life with Theme of Handcrafts, Oscar Soteno, Jan., p.23 A&A Study Print: Broadway Boogie Woogie, Piet Mondrian, Oct., p.37 A&A Study Print: Chem Trails NYC, Maya Hayuk, Nov., p.37 A&A Study Print: Dewdropic, Lea Anderson, Sept., p.45 A&A Study Print: Inume Pass, Katsushika Hokusai, Dec., p.37 A&A Study Print: The Taj Mahal, Jan., p.45 Community Connections: On the Trail of Calder, Jan., p.27 A&A ART PRINTS Animal Locomotion, Plate 733, Eadweard Muybridge, Nov., p.19 The Brooklyn Diner, Ian Berry, Dec., p.19 A School for Boys and Girls, Jan Steen, Sept., p.23 Tomb of Hafez, Oct., p.19 Tree of Life with Theme of Handcrafts, Oscar Soteno, Jan., p.23 A&A STUDY PRINT Broadway Boogie Woogie, Piet Mondrian, Oct., p.37 Dewdropic, Lea Anderson, Sept., p.45 Chem Trails NYC, Maya Hayuk, Nov., p.37 Inume Pass, Katsushika Hokusai, Dec., p.37 The Taj Mahal, Jan., p.45 ALIVE AND KICKING Birding with Brill, Oct., p.16 Creating Connections with Lea, Sept., p.18 Murals with Maya, Nov., p.16 ART IS AT THE CORE Piet Mondrian, Oct., p.12 Hokusai’s Thirty-Six Views of Mount Fuji, Dec., p.10 CHOICE-BASED ART Art Games Around the Room, Sept., p.12 The Box, Nov., p.12 Art History in the TAB Classroom, Jan., p.10 COLLABORATIVE PROJECTS Alive and Kicking: Creating Connections with Lea, Sept., p.18 Alive and Kicking: Murals with Maya, Nov., p.16 Creative Collaboration: Deconstruct, Reconstruct ... Artful Wall Hangings, Dec., p.26 Knowledge and New Friends through Artist Trading Cards, Oct., p.26 Integrating the Curriculum: Musicals Inspire Fabric Art, Dec., p.16 COMMUNITY CONNECTIONS Alive and Kicking: Murals with Maya, Nov., p.16 Early Finishers Who Give Back, Sept., p.22 42

Face2Face in Ottawa, Dec., p.28 On the Trail of Calder, Jan., p.27 DRAWING AND PAINTING Alive and Kicking: Creating Connections with Lea, Sept., p.18 Alive and Kicking: Murals with Maya, Nov., p.16 An Autumn Palette, Nov., p.28 Art for Pre-K and Kindergarten: Start with Self-Portraits, Sept., p.16 Celebrate Diversity! Embracing Our Rich Heritage, Jan., p.20 Character Trading Cards: Tapping into the Pokémon Craze, Oct., p.28 Community Connections: Early Finishers Who Give Back, Sept., p.22 Community Connections: Face2Face in Ottawa, Dec., p.28 “Draw” Like an Egyptian, Jan., p.18 Identity Works: Putting Your Heart and Soul into Art, Sept., p.20 Integrating the Curriculum: Dreamtime Storytelling. Jan., p.12 Mehndi Hands., Jan., p.14 My Initials As Art, Sept., p.30 On the Art Career Track: Dynamic Drypoint, Nov. p.23 On the Art Career Track: Hands On, Sept. p.32 On the Art Career Track: Paperback Writer, Oct., p.30 Purposeful Planning Pages: Getting Students to Outline and Plan their Projects, Sept., p.27 Very Hungry Caterpillars, Nov., p.26 ELEMENTARY (K-5) Abstract Felt Designs Inspired by Wassily Kandinsky, Dec. p.14 Alive and Kicking: Birding with Brill, Oct., p.16 Alive and Kicking: Creating Connections with Lea, Sept., p.18 Alive and Kicking: Murals with Maya, Nov., p.16 An Autumn Palette, Nov., p.28 Celebrate Diversity! Embracing Our Rich Heritage, Jan., p.20 Cézanne’s Apples, Oct. p.24 Character Trading Cards: Tapping into the Pokémon Craze, Oct., p.28 Community Connections: Early Finishers Who Give Back, Sept., p.22 Creative Collaboration: Deconstruct, Reconstruct ... Artful Wall Hangings, Dec., p.26 “Draw” Like an Egyptian, Jan., p.18 Integrating the Curriculum: Musicals Inspire Fabric Art, Dec., p.16 Integrating the Curriculum: Dreamtime Storytelling. Jan., p.12 Integrating the Curriculum: Printmaking with Nature, Nov., p.30 Make Your Origami Original, Oct., p.18 My Initials As Art, Sept., p.30 Uncovering the Secrets of the Taj Mahal, Jan., p.16 Very Hungry Caterpillars, Nov., p.26 FABRIC AND FIBER Abstract Felt Designs Inspired by Wassily Kandinsky, Dec. p.14 Art for Pre-K and Kindergarten: Start with Self-Portraits, Sept., p.16

Community Connections: Early Finishers Who Give Back, Sept., p.22 Creative Collaboration: Deconstruct, Reconstruct ... Artful Wall Hangings, Dec., p.26 Dedicated to Denim: Composing with Fabric, Dec., p.23 Integrating the Curriculum: Musicals Inspire Fabric Art, Dec., p.16 INTEGRATING THE CURRICULUM Dreamtime Storytelling. Jan., p.12 Musicals Inspire Fabric Art, Dec., p.16 Printmaking with Nature, Nov., p.30 MIDDLE AND SECONDARY (6-12) Abstract Felt Designs Inspired by Wassily Kandinsky, Dec. p.14 An AMPed Up Curriculum, Article 1: What’s in Store This Year?, Sept., p.14 An AMPed Up Curriculum, Article 2: The Still-Life Study ... in Four!, Oct., p.14 An AMPed Up Curriculum, Article 3: Get Buggy with your Art!, Nov., p.14 An AMPed Up Curriculum, Article 4: Game On!, Dec., p.12 An AMPed Up Curriculum: Lesson 5: Transportation, Jan., p.12 An Autumn Palette, Nov., p.28 Art and ELL, Jan., p.22 Community Connections: Early Finishers Who Give Back, Sept., p.22 Community Connections: Face2Face in Ottawa, Dec., p.28 Creative Collaboration: Deconstruct, Reconstruct ... Artful Wall Hangings, Dec., p.26 Dedicated to Denim: Composing with Fabric, Dec., p.23 Dynamic Drypoint, Nov., p.23 Identity Works: Putting Your Heart and Soul into Art, Sept., p.20 Integrating the Curriculum: Musicals Inspire Fabric Art, Dec., p.16 Knowledge and New Friends through Artist Trading Cards, Oct., p.26 Make Your Origami Original, Oct., p.18 My Initials As Art, Sept., p.30 On the Art Career Track: Dynamic Drypoint, Nov. p.23 On the Art Career Track: Hands On, Sept. p.32 On the Art Career Track: Paperback Writer, Oct., p.30 Purposeful Planning Pages: Getting Students to Outline and Plan their Projects, Sept., p.27 MIXED MEDIA Alive and Kicking: Birding with Brill, Oct., p.16 Alive and Kicking: Creating Connections with Lea, Sept., p.18 An Autumn Palette, Nov., p.28 Art for Pre-K and Kindergarten: Start with Self-Portraits, Sept., p.16 Cézanne’s Apples, Oct. p.24 Community Connections: Early Finishers Who Give Back, Sept., p.22 Creative Collaboration: Deconstruct, Reconstruct ... Artful Wall Hangings, Dec., p.26 Community Connections: Face2Face in Ottawa, Dec., p.28

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Dedicated to Denim: Composing with Fabric, Dec., p.23 Hands On, Sept. p.32 Identity Works: Putting Your Heart and Soul into Art, Sept., p.20 Integrating the Curriculum: Musicals Inspire Fabric Art, Dec., p.16 Integrating the Curriculum: Printmaking with Nature, Nov., p.30 Knowledge and New Friends through Artist Trading Cards, Oct., p.26 My Initials As Art, Sept., p.30 On the Art Career Track: Dynamic Drypoint, Nov. p.23 On the Art Career Track: Paperback Writer, Oct., p.30 Purposeful Planning Pages: Getting Students to Outline and Plan their Projects, Sept., p.27 Uncovering the Secrets of the Taj Mahal, Jan., p.16 Very Hungry Caterpillars, Nov., p.26 MULTICULTURAL Art and ELL, Jan., p.22 Celebrate Diversity! Embracing Our Rich Heritage, Jan., p.20 “Draw” Like an Egyptian, Jan., p.18 Integrating the Curriculum: Dreamtime Storytelling. Jan., p.12 Mehndi Hands., Jan., p.14 Make Your Origami Original, Oct., p.18 Uncovering the Secrets of the Taj Mahal, Jan., p.16 ON THE ART CAREER TRACK Dynamic Drypoint, Nov., p.23 Hands On, Sept. p.32 Paperback Writer, Oct., p.30

PAPER/PAPIER-MACHE/COLLAGE Alive and Kicking: Birding with Brill, Oct., p.16 Alive and Kicking: Creating Connections with Lea, Sept., p.18 Art for Pre-K and Kindergarten: Start with Self-Portraits, Sept., p.16 Cézanne’s Apples, Oct. p.24 Community Connections: Early Finishers Who Give Back, Sept., p.22 Community Connections: Face2Face in Ottawa, Dec., p.28 Identity Works: Putting Your Heart and Soul into Art, Sept., p.20 Knowledge and New Friends through Artist Trading Cards, Oct., p.26 Make Your Origami Original, Oct., p.18 My Initials As Art, Sept., p.30 On the Art Career Track: Paperback Writer, Oct., p.30

READY-TO-USE RESOURCES A&A Art Print: Animal Locomotion, Plate 733, Eadweard Muybridge, Nov., p.19 A&A Art Print: The Brooklyn Diner, Ian Berry, Dec., p.19 A&A Art Print: A School for Boys and Girls, Jan Steen, Sept., p.23 A&A Art Print: Tomb of Hafez, Oct., p.19 A&A Art Print: Tree of Life with Theme of Handcrafts, Oscar Soteno, Jan., p.23 A&A Study Print: Broadway Boogie Woogie, Piet Mondrian, Oct., p.37 A&A Study Print: Chem Trails NYC, Maya Hayuk, Nov., p.37 A&A Study Print: Dewdropic, Lea Anderson, Sept., p.45 A&A Study Print: Inume Pass, Katsushika Hokusai, Dec., p.37 A&A Study Print: The Taj Mahal, Jan., p.45

PRE-K AND KINDERGARTEN Start with Self-Portraits, Sept., p.16 Very Hungry Caterpillars, Nov., p.26

RECYCLING/USING FOUND OBJECTS An Autumn Palette, Nov., p.28 Art for Pre-K and Kindergarten: Start with Self-Portraits, Sept., p.16 Cézanne’s Apples, Oct. p.24 Community Connections: Early Finishers Who Give Back, Sept., p.22 Creative Collaboration: Deconstruct, Reconstruct ... Artful Wall Hangings, Dec., p.26 Dedicated to Denim: Composing with Fabric, Dec., p.23 Identity Works: Putting Your Heart and Soul into Art, Sept., p.20 Knowledge and New Friends through Artist Trading Cards, Oct., p.26

PRINTMAKING/IMAGE TRANSFER Alive and Kicking: Murals with Maya, Nov., p.16 An Autumn Palette, Nov., p.28 Community Connections: Early Finishers Who Give Back, Sept., p.22 Integrating the Curriculum: Printmaking with Nature, Nov., p.30 Knowledge and New Friends through Artist Trading Cards, Oct., p.26 Mehndi Hands., Jan., p.14 My Initials As Art, Sept., p.30 On the Art Career Track: Dynamic Drypoint, Nov. p.23 Very Hungry Caterpillars, Nov., p.26

STEPPING STONES Beginning-of-the-Year Checklist, Sept., p.10

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Bringing Photography to your Class with Limited Resources, Nov., p.10 Your Expressing Culture and Identity Through Art, Jan., p.8 Mixed Media Mania, Dec., p.8 Preparing Art Lessons for a Sub, Oct., p.10 THREE-DIMENSIONAL DESIGN Community Connections: Early Finishers Who Give Back, Sept., p.22 Creative Collaboration: Deconstruct, Reconstruct ... Artful Wall Hangings, Dec., p.26 Musicals Inspire Fabric Art, Dec., p.16 Uncovering the Secrets of the Taj Mahal, Jan., p.16 TRIED & TRUE TIPS FOR ART TEACHERS Barrage of Collage, Oct., p.38 About Time, Jan., p.46 Prints, Photos and More, Nov., p.38 What? Summer is Over?, Sept., p.46 Winter is Coming, Dec., p.38 YEARLONG SECONDARY ADVANCED ART SERIES An AMPed Up Curriculum, Article 1: What’s in Store This Year?, Sept., p.14 An AMPed Up Curriculum, Article 2: The Still-Life Study ... in Four!, Oct., p.14 An AMPed Up Curriculum, Article 3: Get Buggy with your Art!, Nov., p.14 An AMPed Up Curriculum, Article 4: Game On!, Dec., p.12 An AMPed Up Curriculum: Lesson 5: Transportation, Jan., p.12

AUTHORS Abel, Xanthipi, Sept., p.27 Benson, Cynthia, Oct., p.28 Dionne, Suzanne, Jan., p.27 Gaub, Cynthia, Sept., p.12 Giampietro, Megan, Jan., p.18 Guhin, Paula, Nov., p.28; Dec., p.26 Hildebrandt, Barbara, Jan., p.16 Hoffman, Anne M., Sept., p.22; Jan., p.12 Hospod-Stanford, Joann, Sept., p.30 Kitzman, Jessica, Nov., p.12 Koonlaba, Amanda, Oct., pp.12, 24; Dec., p.10 Leishear, Chrissy, Nov., p.26 Lubiner, Glenda, Sept., p.46; Oct., p.38; Nov., p.38; Dec., p.38; Jan., p.46 Mason, Keith, Dec., p.16 Masse, Don, Sept., p.18; Oct., p.16; Nov., p.16 Mazur, Matt, Sept., p.16; Nov., p.30 Motta, Rachel, Jan., p.14 O’Hanley, Heidi, Sept., p.10; Oct., p.10; Nov., p.10; Dec., pp.8,14; Jan., p.8 Osterer, Irv, Sept., p.32; Oct., p.30; Nov., p.23; Dec., p.28; Jan., p.22 Papanicolaou, Linda M., Jan., p.9 Petka, Kathleen, Oct., p.26 Reynolds, Jody, Jan., p.20 Sartorius, Tara Cady, Sept., p.23; Oct., p.19; Nov., p.19; Dec., p.19; Jan., p.23 Skophammer, Karen, Sept., p.20; Oct., p.18; Dec., p.27 VanBuskirk, Tracy, Dec., p.23 West, Debi, Sept., p.14; Oct., p.14; Nov., p.14; Dec., p.12; Jan., p.12 n

Paragon introduces a new touch screen controller

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

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

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Art, with the focus Alexander Calder: Working With Form. The issue can generate ideas for lessons. Students can also be asked to compare Napolitano’s and Calder’s artwork. Nick Cave is another artist, cited in the issue, to work in the style of Calder, specifically Cirque Calder. Vincenzo Liguori’s sculpture is similar to a huge smokestack representing Waterbury’s industrial history. There is also a resemblance of one of Italy’s volcanoes. The mobile appearing on the top boasts the colors of the American flag. “Sleeping Giant” can be viewed on Freight Street. Older students could be requested to make a connection between an industrial form and a natural form. They can also look at the environmental artwork of Janet Echelman who creates sculptural nets influenced by Calder’s work.

CALDER continued from page 29

RAFFAEL FALCONE’S SCULPTURE is Corno. The “corno” is an Italian amulet that is believed to protect against the evil eye, evil spirits and bad luck. Corno will be located on Phoenix Avenue. Students seem to really enjoy artwork with some folklore, so lessons on gargoyles and African amulets could be popular spinoffs from this work. Students could also be asked to research their cultures for amulets. William Papaleo’s piece represents revitalization for the city and a return to its roots through metal. The artwork is entitled Returning to the Source, and its home shall be in Library Park across from the courthouse on Grand Street. Could your students look into their town’s or city’s history and find something significant in the past that shouldn’t be forgotten and create artwork representing that? In closing, this has been an extraordinary event. Alexander Calder’s connection to Waterbury will not be forgotten. Many people are eagerly awaiting the placement of the magnificent sculptures throughout downtown Waterbury. If you are ever in the area, please join in On the Trail of Calder! n

Suzanne Dionne teaches visual art at Rotella Interdistrict Magnet School in Waterbury, Connecticut. Currently, she is president of the Connecticut Art Education Association.

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The Taj Mahal, built c. 1632–48. Agra, Uttar Pradesh, India. Commissioned by Shah Jahan. Ustad Ahmad Lahauri, architect. Photograph © Asitjain 2009 / Wikimedia Commons / CC 3.0.

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85 Y E A R S •

januar y 2018

“I try to be a truthful artist and I try to show a level of courage. I enjoy that. I'm a messenger.” — Jeff Koons

appy New Year! We made it through the first half of the school year and I know I’m ready to get back to work after a two-week rest (well, a break from school at least). Since the beginning of the school year, I have had my students doing more reflective writing about their art. Using their critical thinking skills has helped them to delve deeper into the meaning of their artwork. We have also been talking more about diversity in our world and the respect all people deserve. They must understand and respect a variety of diverse cultures including the amazing art from countries around the world. By teaching them the history of art and incorporating cultural art lessons, my students are beginning to master these skills. This month’s focus is on

college) try finding art trivia about an artist from the period. History, social studies, science, and English language arts are easily incorporated into any art history unit.

tip #2

FINALLY FOCUSED. There are many stu-

dents who just cannot focus on note taking and listening to long lectures, especially about history. As art teachers, many of us can relate. Caren Wolfer, gifted specialist at Franklin Academy in Pembroke Pines, Florida, collaborates with all the teachers and suggests that these students should draw timelines on 8.5" x 11" paper. On a second piece of paper they can write short notes describing the historical facts and then add these to their notebooks.

tip #3

TIME LINE ON A CLOTHESLINE. This project can be done with any grade

About Time Art Appreciation and Histor y, Cultural Art, and using master works as classroom inspirations.

tip 1 #

TAKE A STEP BACK IN TIME. A great way

to incorporate literature and art history is to read or at least talk about The Time Machine, by H.G. Wells. Why not make your own time machine! This is a great way to get the students excited about art history. Every time you go back in time (you can have a virtual time machine or one made from cardboard boxes). you can dress the part (cave-man/-woman, ear patch with a straw hat and candles glued onto it) I know you get the “picture”! For the older students (fifth grade to ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com

level. Divide the school year into periods of art. Highlight the main artists and styles, and have the students do recreations of their artworks. They can even add a little twist of their own, as we don’t want to plagiarize. Hang them across your room on a clothesline. Middle-school and highschool students can do this in a few weeks. Divide the class into periods of art. Have each student do research on a specific artist and have them recreate a work of art. One great way to do this is by making the artwork three-dimensional. Have students draw their chosen piece on corrugated cardboard or cut-up boxes. Once the piece is sketched, the students will add pieces of cardboard to lend a 3-D look to it. I would suggest no more than four layers of cardboard. When the glue is dry, have them paint it with acrylic paint. The end results are beautiful.

tip 4 #

WE’RE IN IT FOR THE “MONET.” Monet is

a great master artist for younger kids to 46

Glenda L

ubiner

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observe and practice their painting skills. Emily Deacon, elementary art teacher at Franklin Academy in Pembroke Pines, Florida, suggests that paintings can be broken down into step-by-step simple color and texture layers. This assures that all students can succeed. For example, to recreate a water lily–inspired painting, students would first use blue watercolor to create a soft water texture, thicker green paint for the lilies and then a variety of tempera color for colored dots as flowers on top. To top it off, they add tissue paper flowers for a final pop.

tip #5

PROJECTS,

PROJECTS

EVERYWHERE.

Pick a country, pick a medium, and abracadabra, you have many cultural projects to pick from. A few great ones are paper-cutting projects from China and Poland, Adinkra cloth from Africa, Mexican Amate paintings, and Aborigine bark paintings from Australia. The ideas are limitless. HAPPY BIRTHDAY to August Macke (Jan. 3, 1887), Barbara Hepworth (Jan. 10, 1903), Jeff Koons (Jan. 21, 1955), Francis Picabia (Jan. 22, 1879), and Peter Voulkos (Jan. 29, 1924). Thank you, Caren and Emily, for your inspiration! 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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Altered Alebrijes Lesson Plan for Grades 2–12

Step 1: Cover a toy with damp strips of plaster cloth and allow to dry.

Step 2: Add extensions such as wings, horns, and tails made with air-dry modeling clay.

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Transform an old toy into a vibrant sculpture. The Alebrije is an art form that originated in Mexico in the 1930s, when artist Pedro Linares dreamed of a strange land filled with colorful creatures and then recreated those visions out of papier mâché. Using an old toy, plaster wrap, and bright decoration, kids can fashion a fantastical Alebrije sculpture all their own.

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