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CONTENTS VOLUME 159, N o. 1
F E B R UA R Y 2 0 1 6
MAKING FORMS WITH CLAY 16 MEET MR. GRANDVILLE! ANTHROPOMORPHIC PORTRAITS IN CLAY
Deborah Flynt CLAY FLOWERS BLOOM Karla Gearhart piggy pockets: an elementary intro to clay Toni Busch Ratzlaff STAINED GLASS IN CLAY Tracy Fortune METACOGNITION AND CLAY: VISUAL REMINDERS OF ADVANCED THINKING Kimberly J. B. Smith 30 CLAY TIPS FROM THE GAMBLE STUDIO: MARK IT! CLAY STAMPs IN A PINCH Tracy P. Gamble 38 TRIED & TRUE TIPS FOR ART TEACHERS: CELEBRATE CLAY Glenda Lubiner
18 23 24 26
24
YEARLONG HIGH SCHOOL CURRICULUM SERIES 12 BUILDING A STRONG FOUNDATION ... LESSON 6 OF 10: MIDTERM
TRIPTYCHS Debi West
SPECIAL FEATURES AND COLUMNS 6 RANDOM THOUGHTS ABOUT ART AND EDUCATION: UH OH, I MADE A MISTAKE Jerome J. Hausman
8 STEPPING STONES: CHILDREN’S BOOKS INSPIRE ART PROJECTS Heidi O’Hanley 10 ART IS AT THE CORE: JESUS MORALES Amanda Koonlaba 14 ALIVE AND KICKING: LOOKING AT AND WITHIN OURSELVES Don Masse
READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT FEATURE, WOMEN ARTISTS: MALVINA HOFFMAN Colleen Carroll 37 ARTS & ACTIVITIES STUDY PRINT: MOCHE PORTRAIT VESSEL
18
A&A AT YOUR SERVICE 29 CLAY CORNER 34 WEB CONNECT 36 AD INDEX
DEPARTMENTS 4 EDITOR’S NOTE 32 MEDIA REVIEWS 33 SHOP TALK ON THE COVER UNTITLED Low-fire white clay, underglaze; approximately eight inches tall. By Caitlan Dew, grade 8, Riverdale Elementary (K–8) School, Germantown, Tennessee See “Meet Mr. Grandville! Anthropomorphic Portraits in Clay,” page 16. SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. AD SALES: (888) 651-7567; ads@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128. Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 12345 World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign subscriptions, add $35 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery to his or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodical postage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark. POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.
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14 3
e d i t o r ’s n o t e
Clay. With very few exceptions, kids from kinder-
president
Thomas von Rosen
e d i t o r a n d p u b l i s h e r Maryellen Bridge a r t d i r e c t o r Niki Ackermann
garten through high school love to get their hands on the stuff. What they
can learn while working with this malleable medium is just short of miracu-
E D I T O R I A L A D V I S O RY B O AR D
lous. That’s why we have put together a great collection of student-tested clay lessons in this month’s issue! Let’s get started ...
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
Don’t have a kiln, but want your students to learn
Barbara Herberholz Art Education Consultant, Sacramento, California
some basic clay-building techniques? Karla Gearhart’s “Clay Flowers Bloom!”
Mark M. Johnson Director, Montgomery Museum of Fine Arts, Montgomery, Alabama
(page 18) may be the perfect way to do so. Appropriate for K–3, Karla’s lesson plan will help you lead your students through the process of manipulating
George Székely Senior Professor of Art Education, University of Kentucky, Lexington
C O N T R I B U T I N G E D I T O RS
air-dry clay, while learning botany and math to boot!
A tradition at Summit Elementary School, Toni Busch Ratzlaff ’s “Piggy Pockets: An Elementary Intro to Clay” (page 23) has students exploring clay—many for the first time. Among the techniques introduced in her lesson are how to roll a slab, how to use a pattern, ways to
Colleen Carroll Curriculum Writer and Author of Children’s Art-Appreciation Books, Sleepy Hollow, N.Y. Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont
cut detail pieces freehand, and how to assemble and glaze their work. If the
Amanda Koonlaba Art Teacher and Arts Integration Resource, Lawhon Elementary School, Tupelo, Mississippi
word “pattern” stops you in your tracks, here is what the author says about
Glenda Lubiner Middle-School Art Teacher, Franklin Academy Charter School, Pembroke Pines, Florida
that: “While each student cuts his or her pig from the same pattern, no two have ever looked the same.” Toni also tells us that, in the town of Divide, Colo., these little piggies are prized items in families’ art collections. Almost
Don Masse Heidi O’Hanley
Art Teacher, Zamorano Fine Arts Academy, San Diego, California Art Teacher, Brodnicki Elementary School Justice, Illinois
a rite of passage, making one of them in her art class raises a third-grader
Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada
to the level of his or her older siblings, who’ve also made “Piggy Pockets.”
Debi West Lead Visual Art Teacher, North Gwinnett High School, Suwanee, Georgia
For older art students, we suggest Deborah Flynt’s “Meet Mr. Grandville! Anthropomorphic Portraits in Clay” (page 16). This is such a great project, we simply had to share it with you. Plus, her students’ work was so impressive, we are featuring one of their sculptures on this month’s cover. (Kudos to Caitlan!)
“Stained Glass in Clay” is a cool idea shared by Lakewood, Wash., art teacher Tracy Fortune. Turn to page 24 and read how her students planned and made individual stained glass–inspired artworks, using clay slab and coil construction techniques, while getting a taste of what it’s like to work with glass. Tracy will be presenting this lesson at the NAEA convention this March. Be sure to attend for some first-hand advice!
A D V ER T I S I N G D E P AR T M E N T
a d v e r t i s i n g m a n a g e r Tracy Brdicko
tracy @ artsandactivities.com 800.826.2216 or 888.651.7567 p r o d u c t i o n d i r e c t o r Linda Peterson p r o d u c t i o n m a n a g e r Kevin Lewis production @ artsandactivities.com H O W T O REA C H AR T S & A C T I V I T I ES Subscription Services To subscribe, renew, change an address or buy single copies,
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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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UH OH, I MADE A MISTAKE
by JEROME J. HAUSMAN
O
ver the years, there have been so many times I’ve obser ved a student stop drawing after making only a single mark. Looking at a virtually blank space, he or she typically says, “Uh oh, I made a mistake.” The drawing is then discarded. How could this be? I would wonder. Of course, the answer is quite simple: There was a fixed, completed image in the child’s mind and the single crayon or pencil mark did not offer the prospect of becoming that image. All too often, students begin with clear expectations of what the completed drawing needs to look like. The drawing is fixed in the mind’s eye. Therein lies the problem. We are
able to imagine what the final, fin-
ished drawing should be. Through memor y of what things appear to be and through looking at photographs or other print images, we can visualize a completed drawing. These are “drawings” using the images of our own memor y and imaginations. The problem, of course, is that the single pencil or crayon line is different from what has been “pictured” in our imaginations. Depending on the specific medium—pencil, crayon, charcoal, etc.—the line has the character and quality of that medium. And so it is! Every medium has its own specific character and quality. Of course, we can all begin with a general “picture” or “feeling” as to what we want the drawing to be. But, what is important to understand is that our drawing is the result of a process in which we invent, discover and explore the possibilities of what can be done with the medium—pencil, brush, charcoal, crayon, pen and ink—whatever
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6
we are using for the drawing. Simply stated, drawing is a process in which the marks we make can be modified, changed, covered and reworked as the drawing becomes what we want it to be. The first marks should be understood as “beginnings.” Students, as artists, are in charge as they move from more tentative beginnings to a more finished image. In this sense, doing a drawing is engaging in a process in which we discover and re-imagine the image as it is being created. In varying degrees, we make it up as we go along. Students growing up in a digital age have many tools that involve on/ off, yes/no–type decisions. Dealing with a computer keyboard calls for a kind of thinking that leaves little room for nuanced adjustments or modifications in the particular decision. So much of it is “on” or “off.” Of course, this kind of thinking can be very important for certain kinds of decisions. It forces a certain kind of thinking. What is important, however, is that we not lose sight of the special processes of layering, adjusting and shaping images that are more nuanced. We need to be able to adjust, modify and refine our thinking. In our drawing experiences, we are given possibilities for merging actions and thinking within a process that invites trial, experimentation and refinement. No! You can’t make a “mistake” with a single mark at the beginning of the process. The mistake is in “giving up” and not participating in an ongoing process where the solutions we find may not have been apparent in the beginning. n
A&A Editorial Advisor, Dr. Jerome J. Hausman, is a lecturer, consultant, and a visiting professor at The School of the Art Institute of Chicago.
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Stepping Stones
Stepping Stones breaks down seemingly daunting tasks into simple, manageable “steps” that any art educator can take and apply directly to his or her classroom. This column explores a variety of topics and shares advice for art teachers, whether they teach art from a cart, travel or have dedicated art rooms.
CHILDREN’S BOOKS INSPIRE ART PROJECTS
by heidi o'hanley
W
ith the ELA common-core standards, more art educators are attempting to incorporate literature within their curriculum. From artist series to popular fictional characters, art teachers have many creative ways to promote visual literacy and help design lessons to include supplemental materials or project inspirations. You can create a lesson from any book you pick up in your classroom, but since we’re visual artists, many of us like to focus on art-specific topics. You may find a story about “Uncle Andy’s Cats” (by Andy Warhol’s nephew, James), or read about artistic inspiration in “Bridget’s Beret,” by Tom Licktenheld. You could also use books to explain elements of art, such as “Mouse Paint” (Ellen Stoll Walsh) or “Lines That Wiggle” (Candace Whitman). Among all the books I use, I like to refer to a few series I’ve collected for my art library in my classroom.
1
Getting to Know the World’s Greatest Artists
2
Peter H. Reynold’s “Creatrilogy” Series Many
This artist series (written and illustrated by Mike Venezia) is a wonderful one to use with the elementar y level. The pictures are bright and colorful, and the stories are ver y informative and to the point. Students are able to learn about the artists’ places of origin, how they became artists, what famous works they made, and how each artist impacted the art world. I like to use this book series when introducing an artist and his/her style of art. There are currently over 30 artists featured in the series. If you go to the website, www. gettingtoknow.com, there is a list of artist books available, as well as teacher resources for specific artists!
schools celebrate “International Dot Day,” which is inspired by The Dot, a book that encourages students to “make their mark.” The second and third books—Ish and Sky Color—explore more about keeping your eyes open to possibilities and having the freedom to express yourself. When our school celebrated International Dot Day, I had each grade level (K–6) create a “dot” to be displayed around the school. There “Dot Day” project ideas you can find with a Google or Pinterest search, thanks to many art teachers who post their student creations. Lesson ideas and resources can also be found at www.thedotclub.org, which is the site dedicated to International Dot Day. Go to artsandactivities.com and click on this button for resources related to this article. 8
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Eric Carle’s Children’s Book Collection Most children are familiar with the picture books written and illustrated by artist Eric Carle. His most known work, The Hungry Caterpillar, has been translated into 62 languages and has sold over 40 million copies. Carle’s style of art is very recognizable, and has inspired many early-childhood and kindergarten projects. The themes of his stories revolve around his love for nature, which is an interest of most children at the primary grade level. I’ve enjoyed working with The Grouchy Ladybug with my kindergarten students. We’ve created paintings filled with ladybugs and other characters from the book. And, it’s quite funny when a student attempts to draw the whale in the sky!
4
Scholastic’s stories written and illustrated by students I love when we have Scholastic book
fairs because I like to see what the next young author series may be. It all started when I found the book Van Gogh’s Cat, written by second-grade students from Muncie, Ind. Each page features an artwork created by each student in the class, and the story itself was written by the students, as well! The following year I picked up September 12th, which was written by first-grade students after 9/11. After reading these books over and over again to my students, I thought how interesting it would be to create artwork inspired by books written and illustrated by students at the same age! In my second-grade classes, I have students create their own masterpieces with a cat jumping, walking or pouncing out of their paper, just like the second-grade students who wrote the book! My students are always shocked to see that books made by other kids their age can make it in print. And funny enough, there is another art-inspired Scholastic book in our fair this week called Masterpiece, to add to my collection!
5
Artist Series by Laurence Anholt While browsing through your school library, you may come across an artist story by author Laurence Anholt. There are currently eight titles in the series, with new stories being created. Anholt’s stories are about real children who actually met great artists. The material is based on actual research. To learn more about this artist series, please visit www.anholt.co.uk.
Books can be a very essential part to your art curriculum, and this list is only a small handful of what you can use within your lessons. I encourage you to explore what art-inspired books you can use within your classes! n Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Ill., and is an Arts & Activities Contributing Editor. Visit her blog at www.talesfrom thetravellingartteacher. blogspot.com. f e b r u a r y 2 0 1 6 • 83 y e a r s
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Hilton Chicago* 720 S. Michigan Avenue 720 S. Michigan Avenue Chicago, IL, 60605 Chicago, IL, 60605 COST COST Members Members $165 Now | $195 after 2/28/16** $165 Now | $195 after 2/28/16** Non-members
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ART is at the
Art is at the Core offers tips on integrating for visual art teachers and teachers of other subjects. Arts-integrated lessons offer students the opportunity to meet objectives in art disciplines and other subjects. Arts integration strengthens traditional core classes, but does not replace art-specific courses.
JESUS MORALES
by AMANDA KOONLABA Jesus Bautista Morales (1950–2015) was born in Corpus Christi, Texas, and lived his life in Dallas and Rockport. He was an award-winning master sculptor of large-scale abstract granite works. A strong supporter of arts education, Morales once stated, “Because of art, I stayed in school.” Below are ideas for integrating Morales’ Houston Police Officers Memorial with other subjects.
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Headlines Have students view photos of the Houston Police Officers Memorial from different perspectives (a simple Internet image search will deliver these). Provide minimal background information before this activity. After they view each photo, have them work with a group of no more than three to create a headline to accompany the photo. This requires out-of-the-box thinking. For instance, the image of the Memorial that shows the entire work as a cross could have the headline, “Mysterious Cross Dug Into Ground.” A closer image that focuses on the steps might have the headline, “Aztec Temple in Houston Baffles Residents.” The headlines, which do not have to be completely accurate since you are not providing much background, will activate thinking that both provokes questions and forces students to use visual information to make decisions. After a discussion about the different perspectives and headlines that allows students to verbalize their thinking, build content knowledge by providing the students accurate information about the materials used to create the work and the purpose for creation, etc.
2
Geology Morales worked primarily with granite,
which is an igneous rock. Obtain samples of sedimentary, igneous and metamorphic rocks. Many local stone yards will make small donations to teachers. In addition, monument and countertop businesses will often donate broken pieces and scraps. Have students observe the rocks for characteristics. They can record their observations on a chart. Ultimately, they will sort the rocks into the three categories based on the observed characteristics. Have the students compare their findings with each other. This will help them analyze and self-check their initial decisions about the characteristics of the rocks. Have the students use metacognition to discuss which rocks were the hardest to identify and why. Go to artsandactivities.com and click on this button for resources and links related to this article.
3
Writing After completing the geology lesson, students can write an informational piece on the process of identifying rocks, an explanatory piece on why they identified the rocks the way they did, or a reflective piece on what they learned from the activity. Even if you do not incorporate the science lesson into your study of Morales, students can use this work of art to drive other writing activities. They can write descriptive pieces about the Memorial. Have them research and write a biographical piece on Morales. Let them choose another of Morales’ works and develop a comparative piece. Of course, best practice calls for carrying pieces through the entire writing process. Students should edit and revise work after receiving feedback from the teacher and their peers. They can publish their work online through whatever district resources that are available. However, if your district does not provide specific online tools for this purpose, Kidblog.org and Blogger.com are free! Be sure to share widely that students are blogging so that parents and community members will have a chance to see their work.
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Designing a Memorial All students can think of something they would like to memorialize. Note that memorials do not have to be just for something that has passed from the earth. Memorials are simply ways to commemorate. You will find that some students will have someone they have lost to memorialize, while others will have their favorite athlete or the time they won a contest. Let them be creative and pick something that is meaningful to them. Have them design a memorial by brainstorming and sketching their ideas. Once they have settled on a design, have them use rulers and measurement to draw it to scale. Let them work with a partner to check the measurements for accuracy. They can build a model of their memorial, which will also require measurement and scaling. This project brings another writing opportunity for students to share a personal story of what they chose to memorialize. They can also explain why they chose the design for it and how it relates to what they are memorializing. Artsonia.com is a great way for students to share this project. You can let them photograph their memorials and add their writing as an artists’ statements. n
Arts & Activities Contributing Editor Amanda Koonlaba, NBCT, teaches at Lawhon Elementary in Tupelo, Miss. Before teaching art, she was a classroom teacher, and used arts integration as the cornerstone for instruction. Visit her blog at www.tinyurl.com/aekoonlaba
The activities described in “Art is at the Core” may encompass Common Core State Standards for Math, the English Language Arts Anchor Standards of Writing, Speaking and Listening, and the Next Generation Science Standards Performance Based Expectations of Science and Engineering Practices for Analyzing and Interpreting Data. They also encompass the National Arts Standards processes of Creating and Responding. Please refer to particular grade-level standards for specifics.—A.K. 10
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Yearlong High School Curriculum Series | BUILDING A STRONG FOUNDATION
Lesson 6 of 10
Midterm Triptychs by Debi West
A
fter the first few months of school, I like to assess my students with a project-based midterm to see what they have learned and retained. Of course, we are all charged with giving county midterms, but I also like to see where my students are in terms of their artistic mastery. I came up with this lesson several years ago and found that, by turning it into a triptych, I can quickly tell if students have learned the following: 1. To draw from life 2. To differentiate between specific color harmonies 3. To use various media properly
To begin the lesson, we review the
lessons that students have been previously taught to help them build to this challenge. Students are first reminded that drawing what you see is much more successful then drawing what you think. So, students are asked to bring in a personal object or find something in the room to draw. They begin by doing several contour sketches of the object in their visual journals until they feel ready to begin their actual project. I take a piece of white 12" x 18" drawing paper and cut it into thirds so students will create one work on each of the three pieces of paper. The first work is drawn from direct observation and then that drawing is traced onto the other two papers to create a series of the same image. Once this has been done, students select three media that they feel comfortable using, and then they select three specific color harmonies to showcase. For example, students may choose to use crayon, marker and graphite. In Go to artsandactivities.com and click on this button for resources related to this article.
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Through this triptych lesson, you can quickly tell if your students have learned the following: 1. to draw from life; 2. to differentiate between specific color harmonies; and 3. to use various media properly.
their first drawing, they may use graphite, and therefore their color harmony will be obvious: neutral colors, or a monochromatic study of gray. Perhaps their second piece will be done using crayon and maybe they chose to use a cool-color harmony, so they will select blues, purples and
greens to color in their negative and positive space properly using a crayon. And, their third piece might be done in marker, perhaps using a primary color harmony so they will “paint� with their markers and fill in their work using reds, yellows and blues. These three works will then be
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Lesson 6 of 10
INTRO TO ART CURRICULUM SERIES
Midterm Triptychs Learning Objectives
Materials
High-school “Art 1” students will ... • incorporate their direct observational skills, value skills, media manipulation and color theory informational skills into a drawing series triptych.
• • • •
12" x 9" white drawing paper Graphite pencils, erasers, charcoal, blending stumps, Sharpie pens in various sizes, markers, crayons Large construction paper Reference materials
Procedures
Wall display of finished triptychs.
mounted onto a black piece of paper with approximately 0.25 of an inch in between each one and a beautiful triptych will appear! Students can quickly see that they have mastered the three requirements and these make for a beautiful exhibit that showcases that students are indeed learning and retaining these new visual art skills. And, the best part? They have now proved that they are ready to move onto the wet media where they will explore watercolor techniques, acrylic painting, tempera washes and printmaking! I believe that once students have realized the importance of mastering the necessity of drawing from life and how crucial color theory can be to the success of a finished artwork, the rest falls into place. This assessment lesson is a wonderful tool in seeing where my students are, and helps me move them forward through my introductory curriculum. Next up……Watercolor Still Life
1. Introduce the lesson by discussing and reviewing the importance of direct observation in art. 2. Students will learn to measure as they draw the shoe still life onto their composition, paying attention to positive and negative space and proportion by using line and shape. 3. Students will begin to add their seven toned values (black, dark-dark gray, dark gray, gray (middle tone), light gray, lightlight gray and white) into the drawing, paying attention to contrast areas found in their actual still life. 4. Students will realize the importance of “seeing” in art, drawing from life is more difficult than drawing from images or from imagination. 5. Students will complete their graphite piece and then begin their charcoal piece.
6. The teacher can decide if they redraw the next still life, or if they can trace their first drawing, focusing more on the use of charcoal on gray-toned paper. 7. Students will work slowly and lay in their values, this time using black charcoal, vine charcoal and white charcoal pencils, understanding the importance of an eraser as a drawing tool. 8. Students will then being their final piece, tracing their shoe study in sharpie and adding line quality, similar to their contour works. 9. Students will add color, creating a Pop art–inspired shoe study. 10. Final artworks will be mounted on one large sheet of construction paper, creating a triptych. This lesson showcases theme and variation in a still-life series.
Assessment We do in-process critiques using my “2 Glows and a Grow” model: Each student selects a classmate’s work that speaks to him/her and attaches three notes—two with what works, and one with what the artist might want to consider or change. There is also an evaluation form that prompts students to appropriately reflect on the learning at hand and provides space for them to comment on the process and how they feel their final piece turned out. There is also space for me to comment and give them a grade based on their learning and the final work.
Debi West, Ed.S, NBCT, is Art Department Chair at North Gwinnett High School in Suwanee, Georgia. She is also an Arts & Activities Contributing Editor.
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ALIVE
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Focus Illustration: “Pictures just come to my mind and I tell my heart to go ahead.” Photograph courtesy of Melissa Sweet and Jen Bryant.
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Looking At and Within Focus Illustration: “I go over that picture in my mind several times, and when I am ready to paint it I have all the details I need.” Photograph courtesy of Melissa Sweet and Jen Bryant.
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The students created self-portraits that included things that they enjoy in thought bubbles above their heads.
Learning Objectives Elementary students will ... • identify and use tints and shades in art. • create their own self-portraits, inspired by the composition of Melissa Sweet’s portraits of Horace Pippin. • use light and dark color values to make their portraits look more real and three-dimensional. • reflect on their work in writing and support their opinions with evidence.
NATIONAL ART STANDARDS
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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.
Materials
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Pencils, erasers, color sticks, white paper The book, A Splash of Red: the Life and Art of Horace Pippin Document camera & smart board to share larger images and to model steps
rawing portraits, particularly self-portraits, can be a bit intimidating for the upper elementary (third through sixth grade) school set. There’s often a whole lot of “I can’t” at the beginning of the lesson. I found, though, that with the following lesson, there was a much more positive vibe happening with my third-grade classes due to the story, concept and style of the project and focus material. The inspiration for this project comes from illustrations done by Melissa Sweet for the book A Splash of Red: the Life and Art of Horace Pippin, written by Jen Br yant (Knopf Books for Young Readers; 2013). Melissa Sweet’s illustrations capture the pared-down nature of the somewhat flattened shapes in Horace Pippin’s paintings. She adds a bit more brightness and light to her colors, however, in order to engage young readers in this story of perseverance and overcoming obstacles. I started the lesson by sharing a photograph of Horace Pippin (American; 1888–1946) and talking about his life, and all he had to overcome to become an artist. I touched on his economic and academic challenges as a child, and the physical and emotional challenges he faced upon his return as a wounded veteran from the First World War. f e b r u a r y 2 0 1 6 • 83 y e a r s
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Ourselves
Masse, Dear Mr.
by Don Masse
c! are terrifi al works in g w o ri h o aring These ch for sh u m e so th s d how Thank lesson an e th ly p u u tr eir you set d with th responde This is s. students it lf-por tra se l a a n o g Meliss excepti d of thin in k y e r th o st pin’s exactly oped Pip h d to a h s n tio and I ngratula spire. Co ! would in s! st r ti r young a yant all of you —Jen Br
Dear Mr. Masse’s a r t students ,
Thank yo u for sha ring this ect with m proje. I'm insp ired by yo work! It ca ur n take a lo t of plann and think ing ing about content to self-por tra do a it, and th er e are a lo ways to in t of terpret a piece like I like you this. r combin ation of and the im words ages you chose, an especially d I like how you hand the values led . Great re ndering, presentati great on. Look fo rward to ing more seeof your w ork! — Melissa Sweet
The children included the quote from one of the focus illustrations by Melissa: “Pictures just come to my mind and I tell my heart to go ahead.”
I then shared two of Melissa’s illustrations from the book. We looked at how she used a little bit of value contrast on Pippin’s skin and clothes, which made him seem a little rounder and solid. I read Jen Bryant’s companion text aloud to my students, and talked about their meaning. We then identified the places, animals and things we saw in the thought bubbles that Melissa had drawn above Pippin’s head. I explained that they would be creating self-portraits that would include things that they enjoy. This last item proved to be a great hook: the students were excited that they could include things with personal meaning in their drawings, such as technology, sports, family, friends, places, and so on. Following Melissa’s composition, I walked the kids through drawing their self-portraits. As we drew together, I pointed out the spacing of facial features and introduced the concept of proportion. Examples of various hairstyles were up on the board, to give students a better idea of how to approach that particular aspect of the drawing. Students broke up the upper part of their drawings into at least three shapes, so they could include a variety of www.ar tsandactivities.com
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Go to artsandactivities.com and click on this button for resources related to this article.
items that are important to them. When they added color, I emphasized that pressing hard would render their dark values, while and soft would render their light values. The final step of the drawing process was to
include the quote from one Melissa Sweet’s focus illustrations: “Pictures just come to my mind and I tell my hear t to go ahead.” Some of the students took on the author role as well, and created original sentences to go along with their portraits. An hour (one class period for us) isn’t quite long enough for this lesson so, the following week, I brought back classes for 15–20 minutes each, so ever yone had an opportunity to finish their self-portraits. So many kids found success with this look at and into themselves. I think there are multiple reasons for that. Melissa’s and Horace Pippin’s styles are not super realistic, so students don’t feel added stress in making things look perfect. Shapes can get simplified, as long as they add see
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Meet Mr. Grandville!
Anthropomorphic by Deborah Flynt
Portraits in Clay
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n the never-ending quest to find a different and interesting clay project for our advanced eighth-grade art classes, I came across the artist, Jean Ignace Isidore Gerard Grandville (French; 1903–1947). Known as J. J. Grandville, he was a caricaturist whose lithographs made satirical comment about French society and politics of the 1840s. He became popular and successful with his humorous drawings and his work was in great demand. Grandville’s lithographs depicted animals dressed and per-
forming as men and women. The person portrayed revealed his status in society and character through Olivia the animal. After viewing a number of Grandville images, I thought anthropomorphic clay busts in his style would be a fun and successful project. I presented it to my partner-teacher, Tracy Sammons, and to the students. They all were excited about it. Students each picked an animal and began thinking about the human characteristics the animal might represent. After sketching and brainstorming, we began working in clay. To begin the hand-building process, two large, thick coils were formed for the animal’s shoulders. The first coil was placed on a board in an oval shape and the second one went on top. Newspaper was stuffed inside for support. Next, two Go to artsandactivities.com and click on this button for resources related to this article.
LEARNING OBJECTIVES Middle- and high-school students will … • learn about the artist J. J. Grandville and his anthropomorphic portraits. • learn what anthropomorphic portraits are. • create an anthropomorphic portrait in clay using a variety of hand- building techniques. • learn clay terms and the firing process. • learn a new glazing technique using underglazes.
NATIONAL ART STANDARDS
• • •
Creating: Conceiving and developing new artistic ideas and work. Presenting: Interpreting and sharing artistic work. Responding: Understanding and evaluating how the arts convey meaning. • Connecting: Relating artistic ideas and work with personal meaning and external context.
MATERIALS Patience 16
• Sketchbooks, pencils • Plastic bags for storage • Low-fire white clay f e b r u a r y 2 0 1 6 • 83 y e a r s
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Clay tools Underglazes and brushes
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rectangular slabs were arched on top of the coils, on the ends, to form the top of the shoulders, and more newspaper was added for support. More clay slabs were added to fill in the end of the shoulders and across the front and back under the neck. Another larger rectangular slab was rolled out and formed into a cylinder to create the neck. This was placed on top of the shoulders, stuffed with newspaper and smoothed together. For the head, two large pinch pots were molded, filled with newspaper, and smoothed together. Before attaching the head to the neck, a large hole was cut in the bottom so the newspaper could be pulled out once the clay was dry, and to allow air to escape during the firing process. Once the basic foundation was finished, the students began the really creative and fun part of this project. Using the ideas they sketched earlier as a guide, the students began turning their clay pieces into the animal they had chosen. Some added hats and other accessories that gave their animal Madison human qualities and personality.
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Deborah Flynt is an art teacher at Riverdale (K–8) Elementary School in Germantown, Tennessee.
Sophie
Emily S.
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Once finished, the pieces were allowed to dry completely and then fired. For this project, we tried a new glazing technique the students really enjoyed. Instead of using glazes, we The black underglaze was partially washed used underglaze off, which served to emphasize the details on the students’ anthropomorphic creatures. and did not put clear glaze over it. The first step was to coat the entire piece with black underglaze and allow it to dr y. This coat was then partially washed off with a sponge. It was important to leave black underglaze in the cracks and crevices and other areas. Colored underglazes were applied next with soft brushes. These glazes were dabbed—not brushed—on and the students were careful not to completely cover the black glaze that had remained. This also allowed the students to shade and blend the colors in the process. This matte glazing technique added a unique quality to the finished pieces. The project wrapped up with students discussing, reflecting and writing about their clay projects. Each piece exhibited a personality of its own, and each student was more than proud of his or her humorous anthropomorphic creation. n
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Clay Flowers Bloom! by Karla Gearhart
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his lesson came about partially from my desire for a student-made pot of flowers that wouldn’t fall over. I first had the idea of clay flowers years ago and I finally perfected the lesson for my students. We start with a good-sized portion of lightweight, sturdy air-dry clay for each student (base the amount of clay on the desired size of flowers). The students then divide their clay into three equal portions, so each is one third of the whole— a great math connection! With the first portion, we make a sunflower. For this, we create a flat pancake of clay and snip small slits into its edges using scissors. We pinch each cut section to form the petals. LEARNING OBJECTIVES
Elementary students will ... • understand the basic shapes of various flowers and their petals. • use math skills to divide portion of air-dry clay into three equal parts, and divide one of those parts into four or five small balls. • manipulate modeling material using clay building techniques to create various flowers.
NATIONAL ART STANDARDS
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Creating: Conceiving and developing artistic ideas and work. Presenting: Interpreting and sharing artistic work. Responding: Understanding and evaluating how the arts convey meaning.
MATERIALS
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Images of flowers Air-dry clay Child-safe scissors Watercolor paints, brushes, water dishes
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Pipe cleaners/chenille stems, tacky glue • Foam board, construction paper • Permanent color markers • Paper pattern for vase
It should resemble a little sun. To finish, a small ball of clay is placed in the middle. For the second flower, we roll a number of small balls of clay, which we flatten and shape into a round flower, Children carefully painting their flowers. and finish with a ball of clay in the center to keep it all together. As you can see, this group of children liked four to five petals for this flower. With the third portion, we create a rose. For this, we make a long clay worm, flatten it and then loosely roll it up. I then add pipe-cleaner (or chenille) stems to each flower and then we let the projects dry. In our next class, we paint our dry clay flowers with watercolors and set them aside to them dry. Next, we cut simple flower pots from construction paper (stencils optional). The projects are assembled on inexpensive foam board. The stems are arranged to fit “into” (under) the flower pots. Everything is then glued down with Tacky glue. The final step is to add our names to the foam-board backing. My students love this lesson, and so do I. Each project is unique and reflects the student who makes it. I recommend this for K–3. And another thing, these flowers make a per fect gift for Valentine’s or Mother’s Day. n Karla Gearhart teaches art at Verner Elementary School in Verona, Pennsylvania. f e b r u a r y 2 0 1 6 • 83 y e a r s
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classroom use of the art print
Instructions: The monthly Art Print is meant to be removed from the center of the magazine, laminated or matted, and used as a resource in your art room. – Editor
Anna Pavlova, Malvina Hoffman primary
middle school
Introduce or review the term “portrait.” Display the Art Print and tell students that this is a special type of sculptural portrait called a “bust.” Explain that the subject of this piece, Anna Pavlova, was a famous dancer who was born over 100 years ago and that the sculptor who made this piece was the dancer’s close friend. Ask students to share how how the artist captured the “quiet” side of a person who was known for her energy and movement on the stage. Have students think of a friend who they would like to depict in a portrait. Give them time to make one or two sketches as if they were doing a study for a portrait bust, i.e., only including the head and shoulders. After students have completed the sketching phase, model how they can use a white polymer modeling compound to create a simple portrait bust inspired by their sketches. Finished pieces may be left white to create the illusion of marble, or baked and painted.
The famed Russian dancer, Anna Pavlova, was a worldrenowned celebrity during the late 19th and early 20th centuries. Ask students to list some of their favorite celebrities who are known on a global scale for their contributions to the performing arts, such as singers, dancers and actors. Share the YouTube video of Pavlova in “The Dying Swan,” her signature ballet: youtu.be/QMEBFhVMZpU. Then share a selection of still images of Pavlova—both dancing and at rest. (By doing a Google search of Pavlova images, students will be better able to appreciate the depth of her celebrity). Next, share the Art Print and lead a discussion of how Malvina Hoffman captured the spirit of her friend in the sculpture. How does the portrait bust differ from the photographs? How is it similar? In another class period, instruct students to each choose one contemporary celebrity on which to base an original work of art. Allow them time to conduct an image search of their subjects and collect images to use later on. After the research phase is complete, have students make multiple sketches of their subjects, each ultimately settling on a design to be used as the basis for a portrait bust. Give students clay or modeling compound and allow them to create busts in the round or a two-dimensional plaque-style portrait.
elementary Explain to students that since ancient times, artists have been making portrait busts of famous people. Show the Art Print, sharing that the subject was a Russian ballerina who was as famous in her day as the most famous movie stars of today. Discuss that the sculpture is carved from a block of marble, which is one way to produce a portrait bust. Next, share the 44-second YouTube time-lapse video of artist Amelia Rowcroft creating a portrait bust in clay of the actor Johnny Depp (youtu.be/Xw3r456wIPs). Show the video multiple times, stopping to discuss the process of adding clay to build up the figure. Students will do a simpler version of this process by making clay portrait heads (of a celebrity, a friend, a family member, or an imaginary person), using newspaper and tape over a wooden rod (inserted in a wood block). After the newspaper base is taped securely into place, students can begin adding clay, first to form a basic head and then to add the features, ears and hair. Covering the rod with clay will create a neck. Display all finished pieces in a classroom “Hall of Fame.” Go to artsandactivities.com and click on this button for resources related to this article. www.ar tsandactivities.com
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high school High-school students can experiment with portrait-bust construction by making mini-busts. To begin, share the Art Print and discuss Hoffman’s style and carving. Give students an opportunity to comment on the mood of the piece and what the artist was trying to convey. Next, share a fascinating YouTube tutorial that presents a step-by-step process of creating a miniature bust using a polymer clay (in this case, Super Sculpy) over an aluminum foil armature: youtu.be/ZVVW-10TRH8. In the video, the artist very simply and clearly demonstrates and narrates the process of using geometric shapes to slowly build up the head and upper torso, and how to use sculpting tools to add detail. Students will learn not only basic modelling techniques, but useful information on scale, proportion, details, and painting with gesso and acrylics. (Note: The video contains one expletive toward the end). 19
FEBRUARY 2016
Malvina Hoffman (American; 1887–1966). Anna Pavlova, 1924. Marble. El Paso Museum of Art, El Paso, Texas. Photograph by Elissa Eriksson.
A&A art print notes
Women Artists
by Colleen Carroll
ABOUT THE ARTIST completed works were unveiled in the museum’s Hall American sculptor Malvina Hoffman (1887–1966) was born of Man to great acclaim—as well as controversy. Of the with natural ability and into a culturally elite family that works, Hoffman wrote, “This collection of bronze figures and encouraged her innate talent. Along with private art tutors— heads is a sculptor’s interpretation of Humanity, studied from including Mount Rushmore sculptor, Gutzon Borglum three angles—Art, Science, and Psychology.” (1867–1941)—Hoffman studied at the The Art Students In addition to The Races of Man, Hoffman is most celLeague. She began her studies in painting, but her true pas- ebrated for her work in portraiture, and has been described sion was for sculpture. as “a portrait sculptor of pieces that expressed both fluid moveOne of her first sculptural pieces—a portrait bust of her ment and lofty human values.” (crma.org) father—would not only inspire him to remark, “My child, Celebrities, politicians and historical figures comprise I’m afraid you are going to be an artist,” but a year later, the majority of her subjects, including Henry Clay Frick, would impress the great Auguste Rodin (1840–1917) the actress Katharine Cornell, Thomas Paine, and Henry enough to take her on as a student. From David Thoreau. 1910 to 1917, Hoffman studied under Hoffman was also a writer, publishthe great French master, eventually ing two memoirs: Heads and Tales becoming an assistant. (1936), accounting her experi“Hoffman’s subjects, “Although Hoffman never ences while producing The adopted his dynamic style, Races of Man and Yesterday is frozen in a moment of time, (Rodin’s bronzes suggest Tomorrow: A Personal History movement), she was inspired (1965), as well as an instrucin joyous motion or deepest to pursue similar subjects, tional book on sculptural concentration, exude life.” including lovers and dancers.” technique. (brooklynmuseum.org) John Yewell, metroactive.com With the onset of war in 1914, ABOUT THE ARTWORK Hoffman returned to New York, Malvina Hoffman first laid eyes on although she did periodically return the famed Russian ballerina, Anna Pavto Paris where she maintained a studio. lova (1881–1931), during a performance in She briefly studied at Manhattan’s College of London. Ultimately they would become friends, Physicians and Surgeons, an education that certainly refined and Pavlova the subject of many of Hoffman’s most powerful her eye to the anatomical nuances of the human body. sculptures, including this month’s Art Print. During the war years she served as the director of the Marble portrait busts have been executed since antiquity, National and Foreign Information Service of the Red Cross. yet Hoffman’s Pavlova owes more to the Italian Renaissance. (Hoffman remained active in the Red Cross throughout her Author Sharyn R. Udall, in her book Dance and American lifetime.) Through the 1920s her reputation grew and she Art (2012) notes, “The sculptor carved Pavlova in a serenely worked on many prestigious commissions, such as The detached manner reminiscent of the Italian Renaissance sculpBush House in London, for which she created two monu- tor Francesco Laurana (c. 1425–1502). Like Laurana, Hoffmental sculptures that rest in the street-facing por tico, man achieved elegance by reducing detail and concentrating 80 feet above the ground. on an harmonious balance. Still, despite her elegance, HoffA tour of North Africa in 1926 prepared Hoffman for what man’s marble Pavlova is not idealized; she is a real, recognizwould lead to her greatest commission: The Races of Man able portrait down to her uneven nose.” for Chicago’s Field Museum. The sculptor toured the world Malvina Hoffman’s technical skill is on full display in this 1930–32, consulting with anthropologists, and sketching and masterful piece. The graceful hands that rest gently across photographing the world’s racially diverse peoples. Pavlova’s breast, the subtly downturned shoulders, the Following this research phase, she set about creating prominent cheekbones, and pensive expression all combine 104 bronze sculptures: life-size, busts and heads. The to create a work of astonishing, restrained beauty. 22
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ometimes, the best projects come along as a substitute for something else. I wanted my students to make ceramic piggy banks. The biggest obstacle was the plug at the bottom. Too expensive, too hard to get the hole the right size. Hmm. What to do instead? Piggy Pockets! They are still a “pig” and don't require any plug in the bottom or breaking them to get the money out! (Old world “pyggs” were economical orange clay pots where people saved their money.) They can hold lots of small treasures and are fun to make. This lesson, which I do with my third-graders, includes rolling a slab, cutting from a pattern, cutting detail pieces freehand, assembly, and glazing. While each student cuts his or her pig from the same pattern, no two have ever looked the same. Students practice using the patterns by first tracing them with a pencil on a page in Piggies waiting to be fired in the kiln. their sketchbooks. This familiarizes them with using a pattern. Then, on the “scrap” area, they draw the eyes, nose and mouth (if they want one). They also practice putting the parts where they plan to place them on the clay pig. It Student applying glaze to his piggy gives them the chance pocket. Note the missing nose: It was to see pattern placenot scored properly and came off ment before they have during the bisque firing. a slab of clay—since we all know that kids begin from the middle! After the practice session on paper, students are nearly breathless with anticipation of the magical clay! We use potter’s cut-off tools (also known as needle tools) for cutting the clay. There are lots of demonstrations and discussion of how to use the tools, how they can be dangerous, and what the consequences of intentionally misusing them are (including that person’s clay privileges being taken away. The kids are given onegallon plastic zip bags on which they write their names and class identification in permanent marker. Then, each student receives a pre-rolled slab and lays it on a mat made from a During the final firing, glaze applied to the front of the piggy’s pocket and the back of the nose fused together, making it “stick.” www.ar tsandactivities.com
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wallpaper sample-book page. The tag-board pattern is placed on top of the clay. No tools are out yet—just in case there are students in a big hurry to start cutting! DURING the first clay session, students cut out all the
pieces. Then, using a drinking straw, they punch out holes for hanging and for eyes and nostrils. When all the pieces are cut and punched, they remove the clay scraps from around the pieces. Usually, they can be picked up in one piece and dropped into the scrap bucket. Students then open their plastic bags and gently place the cut pig pieces inside in one single layer. I caution them that any pieces laid on top of each other will be hopelessly stuck together next class! (I always have a few extra slabs for such emergencies.) They zip their bags closed, and bring them to me with their mats, and I place them into a container to store until the next class. When the class returns—but before they get their bags of piggy pieces—I demonstrate the important process of “score, slip, stick,” cautioning them several times that if they don’t score then slip, their piggies will probably fall apart. I also tell them that scoring is lightly scratching, not see
PIGGY
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LEARNING OBJECTIVES Elementary students will. . . • create a 3-D object from a clay slab. • demonstrate an understanding of clay techniques. • personalize their clay piece with cartoon-style expressions.
NATIONAL ART STANDARDS
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Creating: Conceiving and developing new artistic ideas and work. • Responding: Understanding and evaluating how the arts convey meaning. • Connecting: Relating artistic ideas and work with personal meaning and external context.
MATERIALS
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Pencils, sketchbooks, piggy patterns White low-fire clay slabs (8" x 10"), clay tools, paper towels, plastic drinking straws, low-fire glazes, brushes • One-gallon plastic zip bags, black permanent markers
An Elementary Intro to Clay by Toni Busch Ratzlaff
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Stained Glass in by Tracy Fortune
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have always liked stained-glass windows, including those in turnof-the-centur y craftsman-style houses and Gothic and Renaissance churches. After seeing some bowls with melted glass on Pinterest, I was excited to experiment to see if I could create the stainedglass effect in clay. After testing it out with good results, I knew my students would love the sparkle and colors of projects made using this technique. These clay “windows” do not rely on the sun shining through them to capture the beautiful colors of glass. Instead, light colored clay provides a backdrop for the colors of melted glass to show through. A unique and eye-catching feature of the melted glass is that it usually crackles in the kiln. This is in partly due to the fact that the thermal expansion rates of clay and glass are different. It is important to note, though, that while the crackling is beautiful, it keeps the surface from being food safe.
Mary’s fired and finished work. 24
Alexis
ples of different types of stainedglass windows, and providing an over view of how stained-glass windows are made. I introduce students to famous American stained-glass artist, Louis Comfort Tiffany, who is renowned for his Art Nouveau stained-glass lamps and windows. Understanding the stainedglass design process helps students comprehend the role of “lead came,” which holds the pieces of glass together in an actual stained-glass window. While dividing the space into sections is not essential for our clay artworks, using divisions gives stained-glass
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Mary’s stained-glass piece before firing. Note the bits of unmelted glass.
my “Stained Glass in Clay” unit beginS with showing students exam-
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Clay Learning Objectives Middle- and high-school students will … • learn about stained-glass master Louis Comfort Tiffany • learn about the stained-glass design process. • plan and create a strong and creative stained glass–inspired clay artwork • use and understand slab and coil construction techniques
NATIONAL ART STANDARDS
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Creating: Generate and conceptualize artistic ideas and work. Refine and complete artistic work. Presenting: Interpret intent and meaning in artistic work. Apply criteria to evaluate artistic work. Connecting: Relate artistic ideas and works with societal, cultural and historical context to deepen understanding. Kendall
Materials
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Sketch paper, pencils Clay, clay tools, glaze, kiln Wood slats, rolling pins or slab roller Glass, glass nuggets, glass cutter, running pliers • Visual presentation on the work of Louis Comfort Tiffany, and stained-glass window designs and techniques
Rey www.ar tsandactivities.com
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clay designs a strong linear quality and more closely replicates the look of a stained-glass window. As a class, we view examples of work done by previous students. Through this, my current class can see designs done with a variety of different styles of bases ranging from geometric to organic shapes, and simple to complex. After the introduction, students brainstorm ideas and make preliminary sketches, working to communicate ideas important to them. They plan designs that are at least six inches wide, have at least six compartments, and use line as an important design element. Once they have their plans, students are ready to create a base made from a slab of clay. Slabs can be made using rolling pins with wood slats to help
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make pieces uniform thickness or, if you are fortunate like I am, using your classroom a slab roller. I show students how a drawn paper template can be used to trace their designs onto the clay slabs. Some of them may want a circle-shaped base; a large coffee can makes a great large, round cookie cutter. (Covering the clay with thin plastic helps keep the clay from sticking in the coffee can.) Our lead “came” lines are made with coils or narrow strips of clay. It is important to attach a substantial strip to outline the base to ensure that melted glass does not drip out when in the kiln. Attaching other strips creates the divisions of space. To ensure the pieces do not fall off, I instruct students to use what I call the “S.S.B.S.” method: Score, Slip, Blend, Smooth. When smoothing, cotton swabs work well to get into the narrow crevasses. Students car ve their names into the bottom of their projects and then set them to be dried and fired. see
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W
orking in a low socioeconomic public school district means I’m constantly searching for ways to invest students in their learning. My M.Ed. studies at Plymouth State University were in the area of Neurodevelopment and Metacognition; this information has proved vital for my students! We talk daily about ways to overcome selfdoubt and ways to give one’s self a chance to learn. Introducing metacognition, which means thinking about your thinking, can do this. You will find the concept of metacognition throughout the new Common Art Standards. The standards tell us that “meta-cognitive activities are crucial to student learning and achievement across the arts and other academic disciplines.” The following projects combine meta-
Kelton, kindergarten.
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Jaycee, kindergarten.
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cognition study with the magic of clay. The result is a memorable artifact about students’ new metacognitive tools. Our annual art show is an opportunity for students to share their new learning tools with their family. This is an opportunity for generational learning! Kindergarten: Growth Mindset Leaves The concept of Growth Mindset
is described in the book Mindset: The New Psychology of Success, by Carol S. Dweck, Ph.D. It means that students can and will learn through practice and making mistakes along the way. We encourage students to practice this each and every day! Leaving behind a Fixed Mindset (I tried once, wasn’t perfect from the start, I give up), they can enjoy their learning journey! Made using a simple leaf tracer and basic clay tools, each leaf represents growth and is a reminder to practice a growth mindset, which is good for everyone!
Anthony, grade 1.
Grade 1: Metacognition Thinking Caps Metacognition
means thinking about your thinking. This is important because students need to “own” their learning—actively participate in the process. Being metacognitive means thinking about what you are learning, why you are learning it, how you are learning it and when you will use the information in the future. These thinking caps were fun to make but they are so much more! Learning is not a passive event. Made from an inverted pinch pot and half a strand of Twisteez wire, each thinking cap is a reminder that we want to always encourage students to be active participants in their education.
Kalab, grade 1.
RESOURCES
•
Frankl, Viktor E., Man’s Search for Meaning. Beacon Press; 2006. • Dweck, Carol, Ph.D. Mindset: The New Psychology of Success. Ballantine Books; 2007. • Deak, JoAnn, Ph.D Your Fantastic Elastic Brain, Stretch It Shape It. Little Pickle Press; 2010.
Go to artsandactivities.com and click on this button for resources related to this article.
Metacognition and Clay
Visual Reminders of Advanced Thinking by Kimberly J.B. Smith 26
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Grade 2: Growth Mindset Masks
Grade 3: Metacognition T-Shirt Designs What do you get when you
combine a metacognition review, a chance to design a T-shirt and clay additive slab work? You get a clay pocket T-shirt with a metacognition message! Some of the topics we reviewed were: • Neurons: Neurons are like pathways in the brain that can become super
Kolton, grade 2.
>
Making these masks in second grade was a review of growth mindset and a reminder of the message from Viktor E. Frankl’s book, Man’s Search for Meaning. Frankl’s training as a psychiatrist and his time in concentration camps led him to an important finding: No matter what happens, each person chooses his or her reaction to events. People go through all manner of bad times, ranging from a skinned knee to much more horrific scenarios. Even so, people choose how to react. Between the event and the reaction is a choice! We start with a basic intro to Dweck’s mindset and Frankl’s choice concept. Each student then gets to make a visual representation of the choice to be happy in clay. Each mask design begins as an inverted pinch pot. All details are added using traditional score, slip, and smooth additive techniques, finished with lots of green glitter paint!
> highways through practice. • Zones of Learning: The comfort zone is information that students already know. The risk zone is where the learning happens. The danger zone is content that students are not ready for. These zones are visualized as concentric circles with the small comfort zone in the center. The middle (hopefully large) risk zone comes next, surrounded by the danger zone on the outer edge. • Grit: Researched by Angela Lee Duckworth (check her out on TedTalks: www.ted.com/speakers/angela_ lee_duckworth), grit research is something students must know about! More than IQ or talent, having an attitude of grit will enable success for those who
Luke, grade 2.
stick with their goals. • Growth Mindset: Defined as the practice of growing your knowledge and expertise through practice. Further explained by the understanding that the mistakes made along the way will help you learn. • Neuro-Developer: A brainy image that reminds us we can improve our brain function through practice. We can all be neuro developers! • Thinking Cap: A fun reminder to be metacognitive. Each design was created in clay slab as a pocket, with the base acting as the back of the T-shirt. The front of the T-shirt acts as the front of pocket. The opening of the pocket is the neck of the T-shirt design. Each clay creation can be hung on a wall displaying dried flowers through this neck opening. Use of light dark contrast for the painting of the T-shirts is necessary for the message to be clear. Depending on age and time available, T-shirt templates can be used. The clay projects shared here are intended to create dialogue about the metacognitive aspects of learning. They are also intended to serve as an active reminder to practice the act of metacognition—thinking about one’s thinking. Consider these clay projects a few of the multitude of possibilities! n
>
Erin, grade 3.
> www.ar tsandactivities.com
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Paige, grade 3.
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Kimberly J.B. Smith, M.Ed., teaches art at Valley View Community School in Farmington, N.H., and Wolfeboro Summer Boarding School, Wolfeboro, N.H. 27
value contrast to make elements look three-dimensional. Pippin’s stor y is engaging and kids can relate to his struggles—particularly those he had in school. Finally, the book provides a contemporar y connection to a figure from the past, bringing Horace Pippin’s life and art alive for the kids. Once the project was done, I contacted Jen and Melissa about what my students had done and shared some of their drawings. Both women took the time to write to the kids and of fered them praise and encouragement in future projects. I shared what they wrote with my kids, who were thrilled—especially those whose work was featured in the correspondence. Such exchanges between artists and my students really make the content come alive and makes the kids aware that there is a larger audience for their work out there. These exchanges also serve as motivators: students want their work to be featured within the scope of these exchanges, and the only
The glass can be added before the first firing, but I recommend that students wait until the bisqueware stage to glaze and add the glass, since clay at the greenware stage can be quite fragile. It works well to glaze the clay coil lines first and then add the glass.
ALIVE
GLASS
continued from page 15
continued from page 25
Students are amazed at the “magic”
A Splash of Red: The Life and Art of Horace Pippin, written by Jen Bryant, illustrated by Melissa Sweet. Knopf Books for Young Readers; 2013.
way for that to occur is if they show respect in class and an understanding of the concepts within the project. n Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California.
our back issues provide more ideas and lesson plans to choose from!
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of cutting glass. Most have never scored glass using a glass cutter or experienced how easy it is to snap scored glass into two pieces using running pliers. Students enjoy the process of selecting and cutting glass to put into the sections. (Be sure they wear eye protection when cutting the glass.) When creating real stained glass or fused glass artworks, the pieces of glass need to be precisely cut and the types of glass are important. Fortunately, with this process, glass of assorted types can be mixed and the cutting does not need to be exact. Students discover that glass sometimes changes color when fired, so results are not guaranteed. Glass nuggets, available at craft and dollar stores, work great and crackle beautifully. As a guideline for how much glass to use, I recommended filling each compartment with enough to cover the section and overlapping any gaps. If after firing the glass does not fill a division, more glass can be added and the project fired again. We fired some projects at low-fire range (cone 04-06) and others at the higher range (cone 4-6), depending on the type of glaze used. Regardless of the firing temperature, projects turned out well. At the close of the unit we have a critique day. After that, students reflect on their finished work, and write a statement that explains their artistic intent, showcases their visual literacy, and analyzes their finished artworks. Overall, students love their artworks, as the sparkle and colors of the glass combined with the bold clay lines give stunning results. I have done this project with middle- and high-school students, and think it could also be adapted for elementary school students as well. n Tracy Fortune teaches at Lakes High School in Lakewood, Washington.
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Paragon kilns help students create priceless ceramic treasures
C
eramic ware survives the test of time. Ancient Greek and Roman pottery is now treasured artwork. The 7th and 8th grade stu- Seventh and 8th grade students at Brandenburg Middle School’s dents at Brandenburg Middle Classical Center in Garland, Texas. Shown in both photos is the School in Garland, Texas have digital Paragon TnF-28-3 12-sided kiln. made ceramics that may one patented spring-balance lid day become family heirlooms, treasured for feels so light that you can generations. They worked under the guid- lift the lid with one finger. ance of Gennell Murphy and Christy Call or send email for a Bautista. The ware was fired in a Paragon free catalog. digital TnF-28-3 kiln.
Paragon kilns have been helping students create ceramic art since 1948. Our kilns are designed for the harsh environment of the school, where they are often neglected. They fire day in and day out with little maintenance. They are workhorses. The top row of wall bricks in the TnF-28-3 is blank (no element grooves) to prevent brick damage caused by leaning over the kiln. The www.ar tsandactivities.com
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“digging to the center of the earth.” continued from page 23 (I have found that exaggeration helps them truly understand the difference.) Students then get their bags of piggy parts back, remove all their clay pieces and receive wet sponges and potter’s scoring tools. The first piece to be attached should always be the pocket. If the eyes go on first, they often end up inside the pocket when it is attached! Paper towels are wadded into loose balls and placed in the center after scoring all around the curved part of the head. Students then score the curved bottom of their pockets, add slip (watered-down clay) with small brushes or fingers, and attach the pocket. Smoothing the joined edge with a finger or wet sponge ensures the pocket stays on and is smooth. Students add facial features next and curl the ears, if they like that look. I usually write names on the backs of completed piggy pockets as the students bring them to the drying area. Students seem to always want to take the paper towels out of the pockets before drying, but don’t let them! The towels are easy to pull out just before the piggies are placed in the kiln.
PIGGY
Once the piggy pockets have been bisque fired, students glaze them.
(Usually, we have a limited number of colors to choose from.) They glaze the front and the inside of the pocket with one color, and the eyes and nose can be other colors. With a small dropper bottle, those who wish to apply black glaze into the holes of the eyes and nostrils. If they also want a black glaze mouth, they lightly trace one on top of the glaze with a pencil, which I retrace later with the black glaze. (Some years, watercolors or acrylic paints are used to decorate the piggy pockets.) My students are always excited to add their piggy pocket to the family collection at home. They are so happy they finally have one to go with those their older siblings made in my class. They really do become treasures! Many a former student has told me years later, “I still have my piggy pocket.” It always brings a smile to my face. n Toni Busch Ratzlaff teaches art at Summit Elementary School in Divide, Colo. 30
Clay Tips from the Gamble Studio
David and Tracy Gamble
share a renovated church studio and home in Plainfield, Ind. With 50 years of experience between them, they teach clay workshops throughout the country.
Mark It!
Clay Stamps in a Pinch ere is a simple way each of your H students can make clay stamps and a pinch-pot container for the kiln and
the shelf to use to decorate future clay pieces. 1. Make pinch-pot containers and have students carve their name into the outside for identification. 2. Make stamps (texture wheel, line wheel, stamps with handle pinched out and designs carved, texture worm, see photos for stamp ideas, no two will be alike). 3. Gently place stamps in the pinch-pot containers. 4. Let air dry. 5. Fire in a bisque load to your normal bisque fire temperature.
Finished pieces shown with the stamps that were used on them.
Use fresh clay of your choice to make pinch pot and stamps.
Bisque pinch pot and stamps ready to use.
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MAKE TRIMMING FUN!
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THE ORIGINAL
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TROUBLESHOOTING FOR POTTERS: All the Common Problems, Why They Happen, and How to Fix Them, by Jacqui Atkin. Barron's Educational Series, $21.99. No matter how conscientious the ceramicist, things sometimes go amiss while working with clay. It is nearly inevitable. An alternate title for Troubleshooting for Potters might have been “How to Succeed with Ceramics.” The book will provide a good understanding of hundreds of correct potter y-making procedures. Too, as the subtitle advises, it will help the reader avoid or remedy an enormous host of difficulties. The book is divided into five parts with color-coded tabs. Part I is made up of 25 pages of diagnoses. (Of course some of the so-called “problems”— blistering, crawling, and crazing, for instance—might be thought of as decorative assets at times.) The rest of the book deals with all the key steps in ever y ceramic process, from choosing and preparing clay to forming a piece and finally decorating and firing it. Each section begins with articles on premium practices and progresses to Fix-Its. Author Atkin supplies solutions
to ill-fitting lids, cratering, warpage, wobble and plenty more. She doesn’t forget smoke firing and raku, nor does she shy away from including both the pros and cons of kiln types and handbuilding methods. The countless professional photographs, while not large, are extremely useful. Many images showcase intriguing finished pieces. Numerous charts and pointers pepper the pages, making it almost essential for anyone who loves creating potter y.–P.G. DRAWING MASTERCLASS: LANDSCAPES, by Margaret Eggleton. Search Press Ltd., $19.95. As an artist with a background in education, the author of this softcover is a proponent of sketchbooks (a good thing) and in working from photographs. The latter is not a method with which ever y art teacher agrees, although they might concur that Eggleton’s expertise is considerable. Her adept writing voice is personable and anecdotal at times without sacrificing a great deal of essential advice. Many of the sketches capture charming cottages, moors and dales. Readers with European travel experience may well treasure the book for years to come. As is often the case with drawing books, there are no color plates. Eggleton works in a wide variety of media, from graphite sticks and pencils to acrylic ink, charcoal, conté and more. Some of the graphite drawings lack the deepest values, although that may be a result of the book’s printing process. Of the 96 pages, only two are devoted solely to perspective, though one finds references to it throughout the book. Other titles in the Drawing Masterclass series: Portraits, Animals, Life Drawing, and Eggleton’s own Flowers. This book would be appropriate for high school and above.–P.G.
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shop talk
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BAILEY CERAMIC SUPPLY A convenient starter set, the basic tools needed to begin making pottery on the wheel are included in Bailey Ceramic Supply’s kit. Great for schools and beginners, this kit contains one each of the following: small synthetic sponge, wood rib, large ribbon loop tool, double-ended ribbon loop tool, metal needle tool, wood modeling tool, metal scraper rib and cutting wire.
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Portrait Vessel. North coast of Peru, Moche culture, A.D. 100–500. Ceramic. From the Pre-Columbian Collection of the Worcester Art Museum, Worcester, Massachusetts. Public domain.
STUDY PRINT www.ar tsandactivities.com
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“When I think about how I want to reach an audience, I just wanted to make pieces that were inspired by something that gave me so much pleasure.” — Shepard Fairey
C
ontemporary artist Shepard Fairey expresses his feelings like very few artists I have read about. This month, celebrate what inspires you and your students. We can do this with all the events that are happening this month. February brings with it many multicultural celebrations such as Black History Month, Chinese New Year, and of course Valentine’s Day, and President’s Day. It is always a great time to celebrate your students and their successes and also get them ready for Youth
be able to tell you even used clay! Speaking of clay, the use of the end of a marker cap makes outstanding “eyes” when pressed into clay.
tip #2
In the beginning … When retired
Chicago art teacher, Geri Greenman, was teaching high school, she always loved working with ceramics. She would start her beginning art students with a project of creating a bowl shape. Using an existing bowl face down, she would have them cover the form with plastic wrap or something similar. They would roll out coils and wrap the base/bottom of the form. They would continue covering the bowl form with the coils. Creative design comes in as the form grows. As it gets
Celebrate Clay Art Month next month. We proclaim February as “Ceramics month,” so get your clay out, clean out your kilns, and get those tools ready to make some amazing pottery.
tip #1
Cleaning Up 101 When Keeli Singer
from Trojan Intermediate School in Potosi, Missouri, is creating with clay, cleanup can be difficult—especially when switching to classes that are not using clay that day. To speed up the process, Keeli uses inexpensive plastic table clothes. She collects old birthday party table clothes (you can even get the leftovers from your book fair). They work very well because you don't have to clean the table. Just fold up the cloth really quickly and shake it out when you get a break. When the next class walks in they won't
ATTENTION READERS If you would like to share some of your teaching tips, email them to: triedandtrue@artsandactivities.com
38
close to being leather hard, it can be smoothed on the inside, keeping the texture on the outside for an interesting effect. She also loved doing food sculptures with her students: hamburgers, hot dogs and sandwiches, all with textures that indicated the actual garnish. She also made tiny little seeds for the buns. Geri’s students then painted the fired sculpture with acrylic paints. It was always a fun project and the pieces always looked great.
tip #3
Making Textures Personal Students can make their own personal textures by gluing buttons on a wine cork. They can also make their own stamps by creating a texture on a small piece of clay with tools, the sole of their sneakers, or anything that has unique texture. Once fired, they can glue these on to a wine cork, as well. They can use these as a signature or for stamping texture on their clay (see Mark It! on page 30). Another way to make texture is to build it up on a piece of heavy board using Sculpey or molding paste. Once dry, these textures can be pressed into clay.
Glenda L
ubiner
tip #4 Test Run We all like to glaze small tiles or pieces of clay so that we know what the glazes will really look like when fired. Use an underglaze pencil to write a code on the tile. Make sure to keep a notebook with the codes: for example SG3 for Spring Green 3 coats. Once the tiles are fired, glue them to a piece of wood and write the information below the tile. This will help your students understand the science behind the glazing process.
tip #5
Tagging your clay? Pasta is a great
way to add texture to your clay. It is especially great for having great lettering in your clay, so you can add a tag. It is also so easy to do! Buy a bag of alphabet pasta (or get your local store to donate a few bags) and use it to tag or write words in your clay pieces. Don’t worry if you can’t get the pasta out from the clay. It will burn out in the firing. Happy Birthday to Norman Rockwell (Feb. 3 1894), Grant Wood (Feb. 13, 1891), Shepard Fairey (Feb. 15, 1970), Constantin Brancusi (Feb. 19, 1876), Winslow Homer (Feb. 24, 1836), Pierre-August Renoir (Feb. 25, 1841), and Honoré Daumier (Feb. 26, 1808). Thank you, Keeli and Geri, for your wonderful tips. n
Arts & Activities Contributing Editor Glenda Lubiner (NBCT) teaches art at Franklin Academy Charter School in Pembroke Pines, Fla. She is also an adjunct professor at Broward College.
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Clay and Basket Fusion Lesson Plan for Grades 5-12
Step 1: Make a hand-built or thrown base with holes punched at the rim. Fire.
Step 2: Add reed by threading it through the holes. Secure by tying with linen thread.
Step 3: Weave the sides of the basket using yarn, hemp, wire, or other materials.
Combine a fired clay pot with reeds and other materials to create a vessel that fuses two ancient traditions! What if you combined a fired clay piece with basketmaking materials? This project starts with a hand-built or thrown clay base that has been modified to accommodate the addition of reeds. Add soft wire, lanyard material, or yarn, and you’ve got a modern sculptural vessel! DickBlick.com/lesson-plans/clay-and-basket-fusion Request a FREE catalog! Alliance for Young Artists Writers
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800•447•8192 DickBlick.com
Visit DickBlick.com/requests/bigbook to request a FREE catalog!