5 REASONS
...for you to try a Skutt Wheel
Built in Splash Pan
Easy to Clean
Just twist and lift off the wheel head for full access to the splash pan.
Large 1 Piece Splash Pan
Removable Splash Pan
Holds hours of trimmings. When you are done just pop off the wheel head and carry the whole pan, trimmings and all, to empty. Oh... and no leaks.
Heavy Duty Construction
The shaft, wheel head, base and bearing block are the thickest and heaviest you will find. This wheel was designed by a Big Pot Potter who wanted to ensure stability.
Smooth as Silk
Continuous Duty Motors
Our 1/3 HP motor delivers more torque at the wheel head than the competitions 1 HP motor because it is rated for industrial use. No matter what anyone claims, our wheels will handle more clay.
The SSX controller has an oversized capacitor that allows it to deliver power to the wheel head in a smooth, predictable fashion when you step on the foot pedal. This is particularly helpful when you are throwing at very slow speeds. Each splash pan style is available with your choice of a 1 HP, 1/2 HP or 1/3 HP motor. Visit us at skutt.com for more information
We help you make great things! Wheel Feature Ad.indd 1
7/11/17 8:24 AM
brush up on your creativity
AMACO lesson plans www.amaco.com/lesson_plans
CONTENTS V O L U ME 1 6 3 , No . 1
F E B R UA R Y 2 0 1 8
FORM AND TEXTURE IN CLAY 16 SESQUICENTENNIAL CERAMIC SUMMATIVES, EH? Irv Osterer 23 INTEGRATING THE CURRICULUM, AN INTERDISCIPLINARY UNIT THAT BRINGS
THE WORLD TOGETHER: ECO-CULTURE TOTEM POLES Carlon Steller
FORM AND TEXTURE Paige Vitulli and Peggy Delmas
David L. Gamble and Tracy Payne Gamble
26 CREATIVE COLLABORATION: METALLIC EMOTICON MURAL Tracy Fortune 28 CHINA’S TERRACOTTA WARRIORS: UNIQUELY REPRESENTED THROUGH 32 CLAY TIPS FROM THE GAMBLE STUDIO: FROM KITCHEN TO STUDIO
28
YEARLONG SECONDARY ADVANCED ART SERIES 12 AN AMPED-UP CURRICULUM, ARTICLE 6 OF 10: WHAT’S COOKIN’ Debi West
SPECIAL FEATURES AND COLUMNS 8 STEPPING STONES: COURAGE WITH CLAY Heidi O’Hanley 11 ART IS AT THE CORE: HANS HOFMANN Amanda Koonlaba 14 COMMUNITY CONNECTIONS: SO, YOU WANNA HAVE AN ART SHOW?!
Don Masse
38 TRIED & TRUE TIPS FOR ART TEACHERS: DREAM BIG Glenda Lubiner
READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT: ISAIAH ZAGAR, PHILADELPHIA’S MAGIC GARDENS Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT: PLATE WITH MONKEY AND CACAO PODS
14
A&A AT YOUR SERVICE 32 CLAY CORNER 34 WEB CONNECT 36 ADVERTISER INDEX
DEPARTMENTS 6 EDITOR’S NOTE 30 MEDIA REVIEWS 31 SHOP TALK ON THE COVER
LAWREN HARRIS Ceramic, 9" high x 9.5" wide x 7.25" deep. By Lauren Johnston, grade 11, Merivale High School, Ottawa, Ontario, Canada. See “Sesquicentennial Ceramic Summatives, Eh?” page 16. Photograph by Jaclyn Cañas.
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.
19 4
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.
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
Clean. Precise. Dependable. L&L Kiln’s patented hard ceramic element holders protect your kiln.
• • • • •
Fires Clean Fires Evenly Easy to Program Keeps Working Made for Schools
hotkilns.com/easy-fire KILNS BUILT TO LAST
505 Sharptown Road • Swedesboro, NJ 08085 Phone: 800-750-8350 • Fax: 856.294.0070 Email: sales@hotkilns.com • Web: hotkilns.com
e d i t o r ’s n o t e
This month, the focus is on “Form and Texture in Clay.” If you are new to this medium, check out Heidi O’Hanley’s great “Stepping Stones” column, where she shares advice that’s aimed to help develop “Courage with Clay.” Heidi assures us that, “if you plan accordingly, clay projects can be some of your most successful lessons of the school year.” Check what she has to say on page 8.
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 EDITORIAL ADVISORY BOARD
Cris E. Guenter Professor of Arts Education/Curriculum and Instruction California State University, Chico
Then, there’s our cover story, ”Sesquicentennial Ceramic Summatives, Eh?” (page 16). To celebrate Canada’s 150th birthday, Irv Osterer asked his students to “think about Canadian citizens who have made a difference, and to create a unique clay figure where their likeness and achievements could be creatively linked in a sculpture.” The outstanding piece on this month’s cover features Group of 7 artist, Lawren Harris, holding one of his famous works, “Lake Superior.” Irv’s students really got into this project and created interesting clay sculptures of a variety of their countrymen. This is a great idea that can be applied to other nations and communities as well. What a great way for students to learn history through art!
“One of my favorite ways to start my ceramics course is with a collaborative project that introduces and reviews clay construction techniques,” writes Tracy Fortune in the introduction to her “Creative Collaboration: Metallic Emoticon Mural.” What exactly is an "emoticon mural”? Well, it involved Tracy’s art students creating “dynamic relief faces” out of clay—many of which reflected the kids’ own personalities. Turn to page 26 to see how they all came together, creating a large, collaborative work.
In “An Interdisciplinary Unit that Brings the World Together: Eco-Culture Totem Poles,” Carlon Steller describes her project that seeks to answer such questions as, who do we share the earth with? What do we know about our non-human neighbors? How can we pay tribute to nature? “Students driven by their own personal interest,” she writes, “choose an ecosystem to research and then dive into the flora, fauna and geography of that particular part of the world.” Turn to page 23 to see the final results of this endeavor.
These lessons and more await you in this month’s issue. When it comes to success in the art room, try a bit of “Form and Texture in Clay.”
Jerome J. Hausman Lecturer, Consultant and Visiting Professor, at The School of the Art Institute of Chicago Barbara Herberholz Art Education Consultant, Sacramento, California George Székely Senior Professor of Art Education, University of Kentucky, Lexington
CONTRIBUTING EDITORS Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont Amanda Koonlaba Art Teacher and Arts Integration Resource, Lawhon Elementary School, Tupelo, Mississippi Glenda Lubiner Middle-School Art Teacher, Franklin Academy Charter School, Pembroke Pines, Florida Don Masse Heidi O’Hanley
Art Teacher, Zamorano Fine Arts Academy, San Diego, California Art Teacher, Brodnicki Elementary School Justice, Illinois
Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada Debi West Art Teacher, Art Education Consultant, Suwanee, Georgia
ADVERTISING DEPARTMENT
a d v e r t i s i n g m a n a g e r Amy Tanguay
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
HOW TO REACH ARTS & ACTIVITIES Subscription Services To subscribe, renew, change an address or buy single copies,
visit artsandactivities.com, contact subs@artsandactivities.com or call (866) 278-7678.
Letters to the Editor Letters pertaining to magazine content and art education in
general are welcomed. Arts & Activities reserves the right to edit all letters for space and clarity. Send to ed@artsandactivities.com
Manuscripts Subjects dealing with art-education practice at the elementary and secondary levels, teacher education and uses of community resources, are invited. Materials are handled with care; however, publisher assumes no responsibility for loss or damage. Unsolicited material must be accompanied by a self-addressed, stamped envelope. For Writer’s Guidelines, visit artsandactivities.com/submit/writers-guidelines/ Address all materials to the attention of the Editor. Simultaneous submissions will not be considered or accepted. Indexes Articles are indexed in January and June issues. Issues of Arts & Activities are available on microfilm and photocopies from: ProQuest Information and Learning, P.O. Box 1346, 300 N. Zeeb Rd., Ann Arbor, MI 48106. (Issues beginning with January 1977 are available in microfiche.) The full text of Arts & Activities is also available in the electronic versions of the Education Index. Copyright Permissions Reproduction of any portion of this magazine without written
permission is prohibited. Contact the Editor at the address shown below or the email address to the left or contact Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923, (978) 750-8400, copyright.com.
The opinions and recommendations expressed by individual authors within this magazine are not necessarily those of Publishers’ Development Corp.
artsandactivities.com
12345 World Trade Dr., San Diego, CA 92128 (866) 278-7678. Fax: (858) 605-0249.
Maryellen Bridge, Editor and Publisher ed@artsandactivities.com Follow us on
6
Copyright © 2018 by Publishers’ Development Corp. All rights reserved.
PRINTED IN THE U.S.A. f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
Nothing beats a Bailey!
Check out our Special Winter Deals and Packages! Bailey has it all. Best Selection! Best Products! Best Service!
www.baileypottery.com 1
month 2015
www.ceramicsmonthly.org
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.
COURAGE WITH CLAY
BY HEIDI O'HANLEY
O
ne of the trickiest materials to work with while traveling or working without a room is clay. Clay materials can take up a bit of space, but it’s one of the most entertaining projects that students become engaged in. No matter if it’s play dough or ceramic clay, students love to sculpt and mold! Clay projects can be created in any space you work in. From the start, it may appear to overwhelm you, but if you plan accordingly, clay projects can be some of your most successful lessons of the school year.
1
2
FIGURE OUT WITH CLAY WORKS BEST. If you have a kiln in your school or district, you have the ability to use ceramic clay that can be fired and glazed. If not, consider ordering air-dry clay, which can help in giving your students a similar experience with molding the material. Even with traveling from room to room, you can manage providing clay lessons for your students. The key to teaching clay from a cart is to communicate with your co-workers on how to manage the clay with a shared space. COMMUNICATE WITH OTHER TEACHERS INVOLVED.
If you move a cart from room to room, inform your co-workers about your intent to use clay materials. Your co-worker may have space to help store projects during the week, such as the top of shelves or closets. When you communicate with the teacher, both of you can collaborate to help students have the experience of working with the materials. In the past, when I traveled from room to room, I would keep the air-dry clay in a box behind the teacher’s desk in the morning, which made it easier for me to travel without moving around a heavy box.
4
RESEARCH HOW TO DISPERSE THE CLAY. Since I cur-
rently have a room, I find it easier to use the clay cutter to disperse the clay. When I was traveling, I would split the clay in advance and place it in boxes in the teacher’s classrooms until I visited for my art time. Managing your clay materials will make it easier for you no matter what situation you teach in. 8
PROTECT THE TABLETOPS. Whether your classroom
tables or students’ desks, figure out how to cover your table space. I use 12" x 12" canvas clothes for our clay projects, but when I traveled, I needed to use gallon-size plastic zipper bags to protect student desks. During clean up, it’s always good to have a cleaner recommended by the school district. Art time in elementary can be limited, but with the mess that clay can make, leave extra time for cleaning the tables.
6
THERE ARE OTHER CLAY MATERIALS THAT WORK. In our district, we introduce ceramic or air-dry clay in third grade and create a clay-based project each year until eighth grade. For my early elementary grade levels, I still use Crayola model magic for some of the student projects.
START WITH KNOWING YOUR SPACE. Do you have a
classroom all year round? You can provide space in your room to work and store materials. Do you have a kiln in your school? Even better! Is there a kiln in the district, but not in your room? Consider creating clay projects that can handle traveling to another school to be fired. Do you travel? Investigate where you can store materials either before the clay is used or while the projects are drying.
3
5
Clay projects can be some of your most successful lessons of the school year. Our intent is to have the early elementary develop an understanding of form—how two-dimensional shapes can be made into a three-dimensional form. We also want students to learn how to create basic forms before using more advanced clay materials, like ceramic clays.
7
IT’S OKAY TO USE PLAY DOUGH. At the kindergarten
8
PLAN HOW YOU’LL DESIGN AND FINISH THE PIECES.
level, I introduce using play dough and the students love it! It helps them become familiar with clay materials, plus they giggle and laugh with everything they make! There are simple clay tools that help with fine motor development, such as rollers, scissors, and press molds for rolling, pressing, cutting, and molding. At the end of the class, the clay can be put away for another class to use.
If you have the materials and space provided, take it the next step! If you have a kiln, there are plenty of glazes available to use to decorate your fired clay projects! If you do not have access to a kiln, consider having students use acr ylic paints to finish their projects. Acr ylic leaves a bright color coating, plus you can add a clear coat to protect the paint. No matter what space you have or what your teaching situation is, you can always make room for clay projects! Have courage and plan time to get creative with clay! n 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. f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
The ultimate g art-teachin e resourc
The Nation’s Leading Art Education Magazine brings you... lesson plans from art teachers throughout the country. We share with you their best classroom-tested, art-teaching experiences and creative ideas. Tap into this invaluable, time-saving resource ... subscribe to Arts & Activities magazine.
Topics include... • art history • textures • drawing
• paper & collage • painting • sculpture
• printmaking • ceramics • and more ...
Subscribe today!
artsandactivities.com/subscribe/
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.
HANS HOFMANN’S RISING MOON
BY AMANDA KOONLABA
H
ans Hofmann (German-born American; 1880–1966) began his work in Paris alongside Pablo Picasso and Fernand Leger. He is considered a great Abstract Expressionist. Nonetheless, he was mostly interested in the illusion of three-dimensional space. His “push pull” theory is a method by which warm and cool colors interact to create movement, space, and depth. Below are ideas for integrating Hans Hoffman’s Rising Moon with other subjects.
1
LOOKING AT THE WORKS. It can be tricky to get kids to really look at a work of art. Without guidance, they will glance at it and only note things that jump out at them. Or, they will look for the expected. That is why it is so important to begin lessons with an art viewing and analysis exercise. It is also great because it hooks students and gets them invested in upcoming, related learning. Hans Hofmann’s Rising Moon is a series of geometric shapes atop a ver y distorted background. Point out the background and foreground of the work. Have students discuss and record what they see in the background, as well as how it makes them feel. Then, have them do this with the foreground. When the students share what they discussed with the class, ask them prodding questions that lead to the understanding that the foreground is orderly and precise while the background is not. Talk about what message that sends the viewer as well as why the artist might’ve chosen to create this way.
2
WHAT WOULD YOU ADD? Once students have engaged with the work, it is time for them to create their own version. First, however, have the students think about what they would add to the image if they could add just one more thing. With this line of thinking, tell them that they will be creating their own version of the work that will be very similar to Hofmann’s, but they will be allowed to add one additional detail. They will need to decide what to add and have a reason for making the decision.
Go to artsandactivities.com and click on this button for resources and links related to this article.
You will need to give them time to analyze this task and think about the decision. Students might choose to add something abstract or something tangible such as themselves or an animal.
3
ART-MAKING. To create their own version, have stu-
dents choose a color scheme. They should determine what will be used in the foreground and what will be used in the background. Make sure they can relate this to the additional detail they chose. Let them abstractly paint the background according to their color scheme. Tagboard and tempera paint works well for this. Then, have them cut out geometric shapes for the foreground from construction paper. Have them use rulers to
Students can write about their work and share their reasoning for adding the extra detail. measure their shapes for preciseness. They will need to glue these to the background. Finally, have them add their detail. They can draw it on a white sheet of paper and add color with markers or colored pencils. Let them cut it out and glue it to their piece.
4
MEASUREMENT. After the students have created
these works, have them measure the perimeter, diameter, radius and area of the shapes they used. They can convert these measurements to different units. Have them add tens, hundreds, and thousands to the numbers to see what they get. They can round to the nearest ones, tens, and hundreds as well.
5
FINALE. Students can write about their work and share their reasoning for adding the extra detail. After they have written, let them record themselves reading their writing. This will help them check their fluency and see if what they wrote makes sense. You can use any video or sound recording app. If you choose, publish it through school and district media. n
Arts & Activities Contributing Editor Amanda Koonlaba, NBCT, teaches at Lawhon Elementary in Tupelo, Mississippi. Before teaching art, she was a classroom teacher, and used arts integration as the cornerstone for instruction.
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. www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
11
Yearlong Secondary Advanced Art Series | AN AMPed UP CURRICULUM
What’s Cookin’ by Debi West
I
always find it exciting for our students to have the opportunity to create artwork based on their everyday life, so what’s more “every day” and fun than cooking and EATING?
technical or creative breadth piece. Either way, this final piece is almost always a central part of my students’ final portfolio pieces.
SEVERAL YEARS AGO, WHILE I WAS PUTTING MY AMPED-UP
I HAVE ENJOYED WATCHING STUDENTS EXPLORE the world of food over the years. Often, I will see kids researching the ingredients that go into a certain food, which then guides them to the tools that are used to make the food. One of my students actually did a series of sketches in her journal using various views of cookware. She used a plethora of media and they were all spectacular.
advanced curriculum together, I was brainstorming lessons and prompts that worked really well with my students. One of my Art II lessons is to paint large-scale food and it’s a huge success (see March 2017 issue). So, I reworked that lesson and had students go beyond the actual food and think about the ways in which the food was prepared, the tools used to prepare the food and/ or combining the food with personal attributes. The lesson proved to be super successful and is now one of my advanced students’ favorites. AS I BEGIN THIS LESSON WITH MY STUDENTS, many of them are already working on their concentration pieces. So, this is a great prompt they can use with their overarching concentration idea, or they can use this piece as a highly
Subjects included food and the tools used to prepare it.
12
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
ARTICLE 6 OF 10
The results of this project are always delicious!
I submitted them to the Scholastic Art & Writing Awards, and several won her regional recognition, but one that was created in graphite took her to the National stage, where she was honored with a Gold Key award at Carnegie Hall! So you never know how your students are going to interpret and receive the creative prompts that you give them. What’s Cookin’ is a great example as to what a seemingly obvious prompt can do for our advanced students when you push them to think beyond the obvious. FROM CUPCAKES (where a student added flour and sugar and icing to her chalk pastel painting to see what would happen) to pretzels to fruit and a variety of media, the results are always delicious! Since this is an advanced art course, I don’t limit my students to a specific media or size or surface, they are free to push their creativity and see where this cookin’ prompt takes them. Next Up: “A Day in the Life.” 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.
www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
Go to artsandactivities.com and click on this button for resources related to this article.
13
COMMUNITY
connections
So, You Wanna Have an Art W
hether you have been at this art-ed game for a while now, or you are just getting started, student art exhibits can provide wonderful experiences for students and families … and they can also prove to be a giant pain if you don’t plan ahead properly. To make the prep, set up, and event all worth it, let’s take a look at some things that might not make or break such an event, but can certainly make it more or less enjoyable for many of the different parties involved. PLAN AHEAD! Mount pieces through-
out the year, so you don’t get slammed doing all that gluing and labeling in the days before the big event. After all these years, I am still bad at this! I end up staying late after school and taking pieces home to mount and label. I keep saying, “This will be the year that I chip away,” but that year is still not here. IF YOU HAVE PARENT VOLUNTEERS, BY ALL MEANS, USE THEM! Our school has a
great core of dedicated parents that assist with all sorts of activities—put them to work (in the nicest way possible). The
When hanging the exhibit, we play off similarities in theme and media.
can mount work, they can label, they can help with the install, they can take the show down and return student pieces. For me, that last one is SO big. Our art team has several days to install the exhibit, but one morning to break it all down. It gives them an idea of how something like this comes together and it builds appreciation for what you and your art program do for the school community. PROMOTE THE EVENT! Get word out way
Our Celebration of Art includes handson activities for students and families. 14
ahead of time regarding the who, what, where, when and why of the exhibit. This is a great opportunity to showcase what your art program is about with the community and your school district. Bigwigs’ calendars fill up fast, so we make sure to send invites to school board members, area superintendents, and VAPA administrations months before the opening of our annual Celebration of Art. Follow up with them as the event gets closer, too. By doing this, our school always gets a couple VIPs that attend. And even if they don’t, they are aware of what you’re doing. This leads nicely into the social media aspect of promotion. Put a press release together, share event details on social media platforms like Twitter,
Students are encouraged to write fan letters to fellow student artists while touring the exhibit, identifying the piece they like and explain why.
Facebook, and Instagram. For the past few years, I have used iMovie to put together a snazzy little promo trailer of the event that can be shared very easily and has drawn a lot of interest from local news teams. It’s so easy to insert photos—don’t be scared to try it out! Before that, we struggled to get news coverage, but we have had an abundance of local press since that promo made the rounds. Give them a hook and they will come! EVERY STUDENT SHOULD BE REPRESENTED! This is one that our team did
not execute as well as we should have for years. We have around 1,200 students and it was difficult (although no way near impossible) to feature every student in our multi-purpose exhibit room when
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
Show?! by Don Masse
Kiddos proudly pointing out their work to family and friends is always a highlight.
attempting to showcase the creativity of our students. What we have since done is have our classroom teachers create a classroom exhibit in the windows and display panels around our south campus, where our event primarily takes place. We encourage our teachers to do a special project with their classes for the exhibit, but they can also select works that have been created with our art team throughout the school year. We still reserve our multi-purpose room for works that demonstrate advanced levels of creativity and perseverance as well reconfigured collaborative pieces that include the creativity of entire grade levels. GET GENERAL CLASSROOM TEACHERS INVOLVED! At Zamorano, we include
hands-on activities for students and www.ar tsandactivities.com
x
Art shows are up and down in the blink of an eye, so be sure to take lots of photos.
families to engage in during our Celebration of Art. Teams of five to six teachers work together and lead these activities all night long. The more teachers involved, the more it feels like a community event. Kids love coming to the activities that their teachers are leading and connecting with each other in a different type of setting. If possible, use the event as a fundraiser, too. We sell tickets in advance and the night of our big show and it generates a couple thousand dollars in funds that go directly back into supporting our art program supplies and salaries. Warning: If you go the ticket route, push the advance sales! We had a couple events where too many attendees got hung up in long lines as they were coming onto campus and we have since sold tickets before and after school for the week leading up to the big event.
hang the exhibit, we play off the similarities in theme and media, so our community is not looking at a wall of identical projects. It may make locating specific pieces more challenging during the event, but I think doing so makes a much more visually inviting viewing experience. FINALLY, TAKE PLENTY OF PHOTOS! An
DO NOT TRY AND HANG THE SHOW YOURSELF! I work with several other
annual art show is a labor of love that is up and down in the blink of an eye. Document it the best you can. Capture kids and families together making or celebrating during the evening. You can use these images to promote your next event and they can also be used for personal reflection: what sections of the exhibit worked really well? What areas could be improved in future years? The annual student exhibit should be a time to come together and celebrate the creativity that your students demonstrate in your classroom on a daily basis. Don’t let poor planning take away from such a powerful event. n
amazing art educators and we work as a team to hang the show over the course of a few days. It’s a great way to come together and see how the different curriculums play off one another. When we
Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California.
85 Y E A R S •
februar y 2018
15
T
o celebrate Canada’s sesquicentennial, we asked students to think about Canadian citizens who have made a difference, and to create a unique clay figure where their likeness and achievements could be creatively linked in a sculpture. There certainly is no shortage of Canadians that have made significant contributions, and the class had no trouble arriving at a wide variety of subjects for their sculptures—that included athletes, performers, scientists and artists.
Sesquicent Ceramic
FOR THIS ASSIGNMENT, there was an important research component and students were encouraged to use the school library and their smart phones to find a reasonable likeness they could capture in clay, as well as a visual inventory of significant images. The students proceeded to fill their sketchbooks with drawings and then were asked to create a series of 6" x 8" linear collages of the images they thought best represented their subject. Students were then given two pieces of linoleum and asked to carve their line art collages into this surface in the same manner they would to print on paper. These blocks would be used to make impressions on clay slabs that would form the front and back of their ceramic sculpture. Most of this grade-11 class had some printmaking experience, and
Sir Sanford Fleming: Credited with the invention of Standard Time. Julia chose a clock motif for the body of her sculpture, which is also armed with a copy of Canada’s first postage stamp, also credited to Fleming. Her portrait likeness of him is terrific.
16
Sir Frederick Banting: Medical scientist, physician, painter, and Nobel laureate noted as the co-discoverer of insulin and its therapeutic potential.
were aware that images would have to be reversed— especially if any text was involved. TO FACILITATE THE CARVING PROCESS, students were
advised to use larger shapes and avoid tiny details. After the carving was completed, a 3/4-inch slab of clay was carefully pressed into the linoleum block and then removed. Happily, the soft clay picked up every detail carved into the block. Slabs were left to dry between two pieces of drywall to near a leather-hard stage and then carefully attached to each other with a slip and a clay coil using a cardboard triangle for support. At this stage, arms were also attached and reinforced with clay coils Heads were fashioned in the traditional manner using modeling tools, and needed to be hollow, which helped when attaching them to the figures. When the time came, they were carefully attached with slip and a clay coil to the cojoined ceramic slabs. A small hole was placed strategically in the back of the head to ensure no air was trapped. AFTER BISQUE FIRING, most students elected
to use layers of watercolor to finish their portraits, as this provided the greatest degree of control. Students had also observed how the Canadian ceramic artist, Joe Afford, had used this method of applying local color with a great deal of success. The clay portraits were sealed with a semi-gloss spray. The class picked an eclectic mix of outstanding Canadian figures from a wide variety of occupations and disciplines. The impressive results were indicative of the time each student invested in properly researching their subject. A few stand out from the rest: Sir Sanford Fleming, created by Julia, is credited with the invention of Standard Time. She chose a clock motif for the body of her sculpture, which is also armed, with a copy of
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
ennial Summatives, eh? by Irv Osterer
Roger Yate Stanier: Microbiologist who was influential in the development of modern microbiology.
Singer Celine Dionne.
LEARNING OBJECTIVES High-school students will ... • create sculptures of famous Canadians to celebrate that country’s 150 birthday. • assemble visual inventories of images that reflect their subjects’ achievements. • carve black-and-white compositions into linoleum. • prepare a series clay slabs for impression. • learn how to assemble a series of ceramic elements into a larger work. • recognize how watercolor can be used effectively with bisque-fired clay.
MATERIALS
• • • • • •
This was a multi-faceted project. First came research, then the sketching of designs. Carving linoleum blocks and pressing them into clay, students’ designs were transferred onto the slabs. Color was applied with watercolors.
www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
Sketchbooks, drawing media Linoleum printing blocks Linoleum carving tools Stoneware clay, clay modeling tools Watercolor paints, paintbrushes Krylon semi-gloss sealer
17
Bobbie Rosenfeld: Won an Olympic gold medal in 1928. She later became a reporter with the Toronto Globe and Mail.
>
Terry Fox: Athlete, humanitarian and cancer research activist. In 1980, with one leg having been amputated due to bone cancer, he embarked on a cross-Canada run to raise money and awareness for cancer research.
>
One impressive sculpture was Lauren’s portrait of Lawren Harris. She fashioned her design after one of Harris’ iconic arctic canvases. Her piece is featured on this month’s cover.
Canada’s first postage stamp, also credited to Fleming. Her portrait likeness of him is terrific. Huda chose track and field star Bobbie Rosenfeld, who won an Olympic gold medal in 1928 and was Canada’s female athlete of the first half-of the 20th century. She later became an esteemed reporter with the Toronto Globe and Mail. The most impressive sculpture is the portrait of renowned Group of Seven landscape painter Lawren Harris, by Lauren Johnston. She fashioned her linoleum block after one of Harris’ iconic arctic canvases. Harris has been recently discovered by American audiences through the patronage of comedian Steve Martin who co-curated “The Idea of the North,” a much-publicized show of Harris’ work in Los Angeles, Boston and Toronto. Lauren’s clay portrait of her namesake is unmistakable and the inclusion of a large paintbrush is a perfect finishing 18
touch to this remarkable project. Other Canadian figures included Jim Carey, Celine Dionne, Tim Horton, Wayne Gretsky, Sir Frederick Banting, Ellen Page, Rachel McAdam, Terr y Fox and Seth Rogan. The car ved linoleum blocks and a few prints taken from them were included in a “Canada 150” display at our annual art show. The work received rave reviews for artistic merit, as well as for the research component that each student had completed. People were able to look at the figures and could determine who they were by the iconography and decorative elements that were carefully invested into each piece. n Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada.
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
A&A Art Print: Respond and Connect Isaiah Zagar (American; b. 1939). Philadelphia’s Magic Gardens.
“The tile ... can make a floor, it can make a wall, it can make a ceiling. The mixtures of the things I put together, sometimes they make sense and sometimes they make nonsense.” Isaiah Zagar
MAIN VISUAL ART CONCEPTS: Variety • Unity • Scale • Texture • Rhythm • Movement ART TECHNIQUE: Zagar prefers a dry, porous, unpainted surface. He first paints a bold line drawing to define shapes and images. He then attaches pieces (mostly ceramic and glass, but also mirror, plastic, metal, and other materials) with a waterbased adhesive. After the adhesive sets, he mixes grout (3 parts sand to 1 part Portland cement, and sometimes a bright colorant) and fills in the spaces between the small pieces. Zagar also creates his own handmade tiles, often with words stamped or painted on them.
DETAIL: In art, sometimes it is necessary to look closely at just one section, which is called a “detail.” In the case of this resource, the close up of the wall is a detail of the photo above it. Can you find the place where this detail is located?
•
•
RECYCLING GLASS: Since the 1960s, when Zagar began installing glass bottles in the walls of his Magic Gardens, the value of glass as a recyclable commodity has dropped around 50 percent. Reasons for the problems with recycling glass include the labor-intensive removal of paper and metal, separation by colors, and competition from other materials such as aluminum and plastic.
VIDEO ART: In 2008, Isaiah’s son, Jeremiah, created the video about his father, titled In a Dream. Do an Internet search for videos about “Philadelphia’s Magic Gardens.” The videos give a great sense of scale and place. With the use of drones, we see the Gardens from new perspectives. The Magic Gardens website is a great place to begin: www.phillymagicgardens.org
•
MOVEMENT and MIRRORS: The arrangement of the mirrors on the second floor of the Magic Gardens is a perfect example of depicting flowing movement through the use of line and shape. For Zagar, mirrors are magical. He uses them extensively in his work to heighten the light, to reflect and include the viewer, and to cast a spiritual glow into the spaces of the gardens. To learn about the history and science of mirrors, see A&A online.
• • •
•
BIOGRAPHICAL NOTE: Isaiah Zagar was born in 1939, and will turn 79 years old in March 2018. Although his art resembles that of a self-taught artist, he is a trained artist. He attended art school at Pratt Institute and graduated with a BFA in painting and graphics in 1960.
•
MATH: The eight-pointed star, or octagram, is depicted in many different cultures. At its core, this star comprises two overlapping rectangles, offset by 90 degrees. People have attached various spiritual meanings to it. The design is found in ancient Islamic, Egyptian, Buddhist and Christian works of art. In the United States, it may be seen as the “Lone Star” quilt design. Some Delft tiles from the Netherlands use a similar star. The compass may be the most universal tool that uses the eight-pointed star.
•
PHYSICS: Bicycle wheel spokes are arranged between the rim and the hub to be able to bear the weight of the person riding the bicycle. The arrangement of the spokes has evolved to lower the weight, and to increase the strength of the wheel. Crossed spokes are stronger than radial spokes.
COMMUNITY ENGAGEMENT: Isaiah Zagar (pronounced “ZAY-gar”) and his wife, Julia, lived in the South Street neighborhood of Philadelphia in the late 1960s. They were instrumental in protesting the city’s plans to build a freeway through this area. In 1994, Isaiah began working on the Magic Garden as an art installation. He worked on the project for eight years before the owners noticed. Through court battles, negotiations and public awareness campaigns, the Magic Gardens was established as a nonprofit in 2008. Today, it is a fixture in the community, is a huge attraction to the public, and has inspired numerous other forms of artistic and economic development.
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
x
85 Y E A R S •
februar y 2018
19
Isaiah Zagar (American; b. 1939). Philadelphia’s Magic Gardens.
FEBRUARY 2018
Immersive outdoor art installation and indoor galleries. Photographs courtesy of Garrett Ziegler.
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
FAUX-SAIC MOSAICS. These paper mosaic-like collages are a fantastic way to teach composition within some fairly strict parameters. Students were supposed to “set” their tiles in straight lines, and this process might have been counter-intuitive to the organic nature of the curved landscapes they were depicting. In reflecting on this lesson, teacher Cathy Wooley states, “This was a challenge for some of the fourth-grade artists. It was easier to curve the tiles along a path of the mountain shape but technically incorrect. I did draw some horizontal lines inside of their mountain shapes to keep them focused. When we imagined the fit of a puzzle, it seemed to improve their success.”
SHADOWS IN THE ROUND Keep your eyes open! Inspiration for
teaching can happen at a moment’s notice. Teacher Beth Affolter says, “I was walking into school on a bright sunny morning and noticed the shadows of the bicycles chained to the railing. They were so crisp against the concrete and I immediately knew that I wanted to have my art students explore the idea of the shadows of the bicycle to add a little more interest to the typical bike drawing. We went outside and took pictures that day!”
Paper mosaics by Cathy Wooley’s fourth-grade students at Fort Island Primary School in Fairlawn, Ohio.
The sky areas, which are painted with watercolor, have a much more spontaneous feel. The addition of salt to the wet blue paint adds a “starry” effect that Wooley says may be a distraction to the clean lines and subtle earth tones of the square tiles. Do you agree or disagree? Would you have your students finish their pieces differently? This lesson is a great way to help students understand color, contrast, and shape, along with the added challenge of how to fit consistently-sized geometric shapes within an organic composition.
NATIONAL ART STANDARDS: Grade 4 Essential Questions: What role does persistence play in revising,
refining, and developing work? How do artists grow and become accomplished in art forms? CREATE: Document, describe, and represent regional constructed environments. RESPOND: Compare responses to a work of art before and after working in similar media.
How to use the monthly A&A 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 and use it as a resource in your art room. — Editor
22
Works by advanced 11th- and 12th-grade students of Beth Affolter, from Summit High School in Spring Hill, Tennessee.
The strength of bicycle wheels and their cast shadows is practically a graphic “gimme” in itself. The compositions created by the students are strong, however, because of the choices they made from the start. The students composed their works by arranging and photographing the bicycles and their shadows in ways they found both pleasing and unpredictable. Since they are advanced students, they were allowed to complete their paintings using any media they wished. Affolter says she would like to teach a similar lesson by allowing students to photograph other types of wheels from different objects, and would love to have them photograph their subjects at night (or dusk) with reflected light.
NATIONAL ART STANDARDS: Advanced High School
CREATE: Choose from a range of materials and methods of
traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept.
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
INTEGRATING
the curriculum
An Interdisciplinary Unit that Brings the World Together:
“Eco-Culture”
Totem Poles by Carlon Steller
Wknow about our non-human neighbors? How ho do we share the earth with? What do we
can we pay tribute to nature? This engaging interdisciplinar y unit seeks to answer these questions by having students create clay totem poles as a visual narrative of our complex and beautiful world.
Encourage students to both carve into the clay and add on to the clay for high- and low-relief dimension. The toucan, starfish, and bear seen on this pole really stand out and encourage the viewer to step closer.
www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
23
This assignment is a great time to discuss texture. This elaborate tropical cylinder has strong texture all over it.
By using red iron oxide and clear glaze, the eco-culture totem poles have a natural look of bone or wood.
I worked with the plant engineer at our school to find a place where the totems could be both enjoyed and safe. Schools are an active place, so the courtyard outside my art room was a great selection for more manageable traffic control and viewing of the sculptures. All four poles were placed within the school landscaping and blended in perfectly with their surroundings. It’s like they were always there!
Students, driven by their own personal interest, choose an ecosystem to research and then dive into the flora, fauna and geography of that particular part of the world.
I like how this elephant’s head projects off the totem and the rest of his body is hidden behind the grass texture on the cylinder. Great perspective and use of dimension! 24
OUR SCHOOL WAS LUCKY enough to have a local ceramics artist, Shane Bryant (www.greenvillearts.com/artist/ shane-bryant/), come to my art classes and help students create their clay sculptures. Assisted by Shane and me, students rolled out their clay slabs and
constructed the cylinder where they would sculpt their low- and high-relief elements. The day was then spent car ving small animals, banana leaves, and other visual symbols. Special attention was paid to texture, such as that of a lizard, sand or sunflower. Though some students had to adapt or simplify their original sketch ideas, all of the final cylinders resembled little sculptural biomes. The clay work was allowed to dry
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
LEARNING OBJECTIVES Middle-school students will ... • create a sketch that integrates the non human elements of a particular part of the world—flora, fauna and geography. • create a cylinder structure with clay using basic hand building that incorporates texture and low-relief techniques. • connect their knowledge from their state science standards in interpreting diverse non-human elements.
NATIONAL ART STANDARDS
•
Students made a rectangle slab, wrapped it around an old soda can, and then rolled and scored-and-slipped it together.
High-relief and low-relief elements were added on the clay cylinders by either drawing into the clay or adding to it with more clay.
Sketching out their ideas helped students plan out their compositions and made for strong finished artwork.
CREATING: Conceiving, developing, conceptualizing, organizing, generating, refining and completing artistic ideas and/or work. • PRESENTING: Selecting, analyzing, developing, interpreting, refining, sharing and conveying meaning for/through the presentation of artistic work. • RESPONDING: Understanding and evaluating how the arts convey meaning. Perceiving and analyzing artistic work. Interpreting intent and meaning in artistic work. Applying criteria to evaluate artistic work. • CONNECTING: Relating artistic ideas and work with personal meaning and external context. Synthesizing and relating knowledge and personal experiences to make art. Relating artistic ideas and works with societal, cultural and historical context to deepen understanding.
Sketches were used as reference as students turned their drawings into threedimensional sculptures.
INTERDISCIPLINARY ASPECTS
•
and then bisque-fired in the kiln. Students coated their fired cylinders with red iron oxide and a clear glaze to mimic the natural look inspired by totem poles in the Pacific Northwest. As a class, we had fun deciding whether we wanted our totem poles to be traditional-looking or more contemporar y. That’s one of the great things about totems: they can look like our naturally inspired final product, or they can be much more expressive in color and narrative, if that fits the installation space. THE COURTYARD OUTSIDE the art room under went a wonderful transformation with 100-plus little cylinders mounted in four, 6-foot-high totem poles. They stand tall in all weather and are enjoyed by past and current students. My favorite moment during this project came after the installation and the school’s dedication ceremony www.ar tsandactivities.com
x
for them. With faculty, students and families in attendance, the students eagerly searched for their artistic contributions and excitedly showed them off! The children joyfully demonstrated their knowledge of key science concepts, as well as visual arts, for an authentic audience. Eco-Culture Totem Poles are a manageable and achievable art installation. I love the emphasis on a student-driven process—choosing their own research topic and creating sketches that come to life through clay. Beck Academy’s “Eco-Culture” Totem Poles are a thoughtful and permanent beautification, and I know they are and will be enjoyed by ever yone who sees them! n Art teacher Carlon Steller is the art department chair at Beck Academy, an International Baccalaureate school that teaches from a worldly perspective, located in Greenville, S.C.
85 Y E A R S •
februar y 2018
Compare the characteristic structures of various groups of plants. • Explain how environmental stimuli cause physical responses in animals.
Sixth-graders will be using their knowledge from their science classes in plant groupings and animal environments as the base of their research for this project. They will be assigned a part of the world and will need to know the flora and fauna from this part of the world in order to create a work that abstractly exhibits these elements.
MATERIALS Based on class of 25 students: • Sketchbooks, pencils • Books and other resources for research • White stoneware clay (50 lbs) • Clay tools, red iron oxide, clear glaze • Rebar • Water and water containers
VOCABULARY
• Flora • Fauna • Totems • Symbolism
• Texture • Low-Relief • High-Relief • Composition 25
creative COLLABORATION
O
ne of my favorite ways to start my ceramics course is with a collaborative project that introduces and reviews clay construction techniques. I have both beginning and advanced ceramics students in the same period, so I love finding new ideas. I was excited when I saw inspiring artworks at Portland, Oregon’s Saturday Market. Sculptor Andrew Lonnquis of Olander Earthworks had a booth displaying his expressive spherical cement cast heads. While some of his face sculptures were free standing, others were mounted on beautiful cross-grain cut squares of wood. Seeing these artworks sparked an idea for a ceramic and wood emoticon collaborative mural. TO START THE UNIT, I showed a PowerPoint featuring
Andrew Lonnquis’ work. Students then brainstormed a list of emotions. To get further ideas, some students researched ideas from photographs of people showing different facial expressions or looked at emoticons. We discussed how one’s whole face changes as it expresses different emotions. Students then made small sketches of different expressions. To finish their planning, each did a larger, more
detailed sketch of their favorite expression that included at least six additive features. and possibly cutouts for greater relief. They also indicated where they would add at least one texture to add visual interest to their emoticon-inspired heads. STUDENTS WERE EXCITED to work with clay. I demon-
strated how to construct a basic pinch pot. I also showed students how to create a smooth outer surface on their pinch pot by lightly tapping it using a wood paddle. They loved learning this, as it is a great way to remove the dents created by the pinching. The next key step was teaching them how to firmly attach features with the technique I call “S.S.B.S.” (Score, Slip, Blend, Smooth). I emphasized the importance of using a sharp tool for Scoring, water y clay Slip for gluing, a modeling tool for Blending, and their finger or sponge for Smoothing. Students were successful at creating dynamic relief faces. The results were varied, as their artworks showed many different emotions and some artworks clearly reflected the personalities, interests or style of the student who created it. After their artworks were dried and fired, students glazed their sculptures with dark metallic glaze and they were fired again. Their sculptures were ready for the wood backing. At the lumberyard, I carefully chose a beam that included the center of the tree rings. Two of my district’s career and technical education teachers, helped me cut the beam into 5/8-inch slabs and construct black framing for the finished mural. Student sanded and clear coated the 5.5" x 5.5" pieces to seal and showcase the cross-grain of the wood. (The cross-grain wood beam gave beautiful results, but was definitely more difficult to cut than a regular piece of lumber.) Each student created a unique facial expression for his or her emoticon sculpture.
Metallic
Emoticon
Mural by Tracy Fortune
26
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
LEARNING OBJECTIVES:
MATERIALS
• • • • •
High-school students will … • interpret an emotion in sculptural form. • implement basic ceramic construction techniques. • consider public art and its place in the community. • create a sculpture to be displayed as a part of a group mural.
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.
A bit of the students’ personalities can be seen in their masks.
Clay (about /3 lb. per student) Clay tools, slip, metallic glaze Canvas mats/Boards Plastic bags Wood square for each student (squares were approximately 5.5" x 5.5" x 5/8") • Clear sealant, construction adhesive • Wood backing with frame to mount and display finished pieces • Zbar brackets to securely mount mural
>
The mural gets rave reviews as many people see it in its permanently installed location: the main office of our school.
2
>
The finished ceramic pieces were attached to the wood using a caulking gun loaded with clear construction adhesive. By having all students use a metallic finish mounted on the same size wood pieces, the overall installation had a unified, professional look. The mural gets rave reviews as many people see it in its permanently installed location: in the main office of our school. While I did this collaborative project with high school students, it could easily be adapted to suit middle school or elementar y students. This unit was a great way to introduce clay constructing, as it included the pinch-pot technique and other key steps to make a strong and creative clay artwork. n Tracy Fortune teaches ceramics at Lakes High School, in Lakewood, Washington. www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
27
China’s Terracotta Warriors: Uniquely Represented through Form and Texture by Paige Vitulli and Peggy Delmas
T
he excavation site of the Terracotta Army, east of Xi’an in Shaanxi province, was a highlight of our two-week educational tour of China. The site is so vast and the numbers of artifacts unearthed are so numerous, that seeing it in person can be overwhelming. The thousands of warriors that make up the Terracotta Army are each so uniquely detailed, they reputedly have individual facial expressions. The madness of their creator, Qin Shi Huang, China’s first emperor, and the incredible stor y of clay soldiers’ sur vival and unear thing, have all the hallmarks of a great legend. When we returned to the States, we hosted “Chinese Culture for Kids,” an exploratory art day for the children of the faculty and staff of our College of Education. Interest was so great, were pleased to have the adults participate as well. We enjoyed sharing our experiences and knowledge with all of them. Students K–12, moms, dads and grandparents were all engaged in creating their own versions of the warriors. TO JUMPSTART THE ART ACTIVITIES, we
shared with the group our photos, postcards, and several miniature warriors we acquired in China. Also available were mini sculptures created by others, which were used to demonstrate techniques, such as scoring the modeling material with a fork, and creating armor texture with a wire mesh screen or by stamping on patterns with the square end of a chopstick. After sharing the artifacts, images, and stories related to the history of the warriors—and demonstrating some essential techniques—everyone was An old Barbie ready to indulge his or her tactile-kinesdoll was used thetic senses to create the forms. for the “skeleton” Emphasizing the structural problemof this warrior. 28
solving engaged the students in higher order thinking, as they determined what to use as “skeletons” (armatures) for their soldiers. In our art lab, assortments of recycled materials are available for experimentation. It was a delight to watch the students’ creative uses of these materials and their engagement in the problem-solving discussions. We used Model Magic® for this workshop, as we have found it to be very practical and feasible for the elementary teachers we work with who have a minimal art-education background). Of course, the warriors can certainly be created with other forms of clay. Time and excavation procedures have dulled the original warriors, but the true colors of the Terracotta Warriors were quite vivid. For those who wished it, color could easily be added to the whitish forms with markers or tempera paint. THE COLLABORATIVE PROCESS and diversity
of our group—ranging from kindergarteners to parents and grandparents— was a pleasure, and all our “students” enjoyed the process of distinguishing their warriors through hairstyle, dress and position. The engaging production process gave us ample opportunities to teach, learn and reinforce art skills, and share a fascinating history and culture as well. Creating miniature model warriors is a great way to bring history to life through art. n Dr. Paige Vitulli is Interim Chair of the Dept. of Integrative Studies, and Program Coordinator for Graduate Art Education in the College of Education and Professional Studies at University of South Alabama (USA) in Mobile. Peggy M. Delmas is an Assistant Professor in the College of Education and Professional Studies, also at USA. f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
The excavation site of the Terracotta Army was a highlight of our tour of China. The thousands of warriors are each so uniquely detailed, they reputedly have individual facial expressions.
Go to artsandactivities.com and click on this button for resources related to this article.
LEARNING OBJECTIVES Students will … • create their own unique Terracotta Warriors, focusing on textures and patterns in clay/Model Magic • gain a greater understanding of sculpture • increase content knowledge of history and culture through art
NATIONAL ART STANDARDS
• •
CREATING: Conceiving and developing artistic ideas and work. CONNECTING: Relating artistic ideas and work with external context.
The engaging production process gave us ample opportunities to teach, learn and reinforce art skills, and share a fascinating history and culture as well.
MATERIALS
• • • •
Postcards, photographs and Internet images of Terracotta Warriors Model Magic® or earthenware clay Base/armature materials (e.g. recycled bottles, Barbie dolls, tissue rolls) Texture tools (plastic forks, chopsticks, toothbrushes, burlap, wire screens, etc.) • Colored markers, tempera paints, paintbrushes
WEB LINKS
•
Video: “The Terra-Cotta Warriors,” from National Geographic: youtu.be/RsUE-ZtcUFg • Blog of our visit to the Terracotta Warriors excavation site: paigeandpeggy.blogspot.com/2012/05/terra-cotta-warriors.html • The event, featuring make-and-take Terracotta Warriors: paigeandpeggy.blogspot.com/2012/12/chinese-culture-for-kids.html
www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
29
THE ORIGINAL
KiSS-OFF Stain Remover
media reviews
BOOKS • DVDs • PRINTS • RESOURCES Jerome J. Hausman • Paula Guhin
®
Kiss-Off® Stain Remover removes stains on the spot. It is unique because it needs just water to remove tough stains. Its convenient size makes it handy to take along anywhere a stain might find you. Kiss-Off® Removes: •Wet and Dry Oil Paint •Lipstick •Tempera Paint •Pencil Marks •Make-Up •Baby Spots •Wine •Grass Stains •Blood •Coffee •Pet Stains •Grease •Mystery Stains ...and More! Works on: •Fabrics •Carpets •Car Interiors •Rubber Stamps ...and More!
MADE IN THE USA
you ... ore ay Bef it awOff! w sthrory Kis t
Kiss-Off Inc. • PO Box 5311 • Redwood City, CA 94063 www.KissOff.com AA0216
30
MAKING POTTERY YOU CAN USE: Plates That Stack, Lids That Fit, Spouts That Pour, Handles That Stay On, by Jacqui Atkin. Barron's Educational Series, Inc., $24.99. Brit author Atkin believes, as should all of us, that “we should never stop challenging ourselves.” Her impressive book, with numerous options and variations for ever y clay technique, will stir up the imaginations of its readers. The hardcover is best for adults who wish to improve the functional pieces they make, no matter whether the method is coil, slab, thrown, or molded. We also recommended it for advanced ceramics students and gifted intermediate-level potters who need help with design decisions. Atkin allocates one page to safety practices, although she scatters tip boxes throughout the book. She checks off ever y box, from slaking and reclaiming clay to 12 types of handles. Templates for pitchers, bowls, mugs, teapots and creamers are included, to copy and to cut from a rigid material. Not one, but two glossaries
can be found—one of tools, one of terms. Beautifully photographed examples, step-outs, and finished products will have ceramicists itching to sink their hands into some clay as soon as possible.–P.G.
MUSNET: The Mouse of Monet, by Kickliy. Odod Books, $19.95. Musnet (we assume the name is pronounced “mus-nay”) is a little boy mouse who wishes to become a painter. Even picture books for the ver y young need a plot and a concept, and Musnet’s stor y has both. “I’m not afraid of nothing!” is one of the notions, albeit said with poor grammar. Another: “Humans are making a mess of the world.” We especially preferred the strong female mouse and the humor, although the appearance of “ha-ha” at least 15 times did tend to wear thin. Do watch for rodent-related gems like “I’m all ears” and “rat you out.” Sprinkled with a few biographical details about Monet, the stor y even covers such educational material as how to stretch and prepare a canvas, make oil paint, and tone a canvas. Kickliy is the pseudonym of Sam Hiti, Minneapolis ar tist who wrote and illustrated this volume with inks and watercolors. His expressive graphic hardcover, with comic-booklike panels, will win the hear ts of children as it inspires young ar tists. The action is rewarding, although many of the sound ef fects are written in French. The mice of Monet will resonate with kids. And this one is only the start of the intrepid Musnet’s adventures. As of this writing, three more installments have been published.– P.G.
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
shop talk
MAYCO COLORS Mayco’s Stroke & Coat® and Accents help create depth and dimension, as seen in the salad plates above. When color is applied to Mayco’s White Cobblestone Specialty Glaze, textured effects, as seen in the above vase, can be achieved. Learn more by visiting the Project Library on Mayco’s website.
PETER PUGGER MFG. Peter Pugger Mfg. offers extrusion dies that directly mount to the end of its VPM-9, VPM-20, VPM-30, and VPM60 Vacuum De-airing Power Wedgers. Mounting hardware is included. Pictured above are, clockwise from the upper left: Handle Die; Coil Die; Rectangle Die; and Modified Handle Die.
SKUTT CERAMIC PRODUCTS The Legend potter’s wheel from Skutt has convenient features, such as the only removable splash pan on the market that’s designed in one piece. The design is cleaner and easier to use than standard two-piece splash pans. And, its thick cast body has the strength to carr y a full pan of trimmings without popping apart.
www.maycocolors.com
www.peterpugger.com
www.skutt.com
America’s Finest
ET27 Cone 10 with excellent temperature uniformity. Five automatic speeds, or create your own custom program. Full size 23 3/8” wide by 27” deep, 3” brick to save energy. ene Large handles, insulated peephole plugs. Welded steel stand with reflective heat shield. Clean air exhaust option plugs into bottom of panel to reduce color cross contamination.
Thank you for making us part of your creative needs!
Please visit us online at www.cresskilns.com or call us, toll free at (800) 423-4584 or (775) 884-2777 to request a free catalog or locate your nearest dealer.
www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
31
Clay Tips from the Gamble Studio
Tracy Payne Gamble and David L. Gamble share a renovated church studio and home in Plainfield, Indiana. They have 50 years of experience between them, and teach clay workshops throughout the country.
From Kitchen to Studio by David L. Gamble and Tracy Payne Gamble
I
t’s always a pleasure for us to a whisk for mixing glazes, rollteach at Penland School of Arts ing pin for making slabs, wooden & Crafts, and this time was no skewers or chop sticks for incising exception. We had wonderful and sgraffito. students, many of who were K–12 art teachers. With such a group, OTHER FAMILIAR GADGETS that there is always something for me might possibly be new to you are to learn and add to my information include a cheese cutter for faceting, when teaching. I love to look at biscuit/cookie cutters and a pizza studios and classrooms to see what cutter for cutting out shapes on a tools and equipment artists are moist slab of clay, and a sewingimplementing into their space. pattern tracing tool for cutting and/ While in the glazing area of Pen- or adding texture. land’s clay studio I spied a stack of icecube trays. It took a moment for me to figure out why they were there. The folks there were using them as containers in which to put a variety of under glazes or glazes, and then Ice trays are great for holding, mixing and transporting glazes. transport them to your table. Brilliant! The trays are better for glazes than paint palettes, which usually are not deep enough to hold enough glaze. You can mix in the ice trays, too. And, best of all, they’re cheap! The plastic icecube trays at Penland were blue, but I prefer white, especially for color mix- In addition to handy (and cheap!) ice-cube trays, other ing. I also found the useful gadgets include (left to right) biscuit/cookie cutters, whisk for mixing glazes, cheese cutter for faceting, rolling perfect size of plaspin for making slabs, pizza cutter for cutting out shapes tic zip-lock bags from a moist slab of clay, and a sewing-pattern tracing tool. that were large enough to store the We all have used tools from the trays in so the glaze could be saved kitchen, sewing room or garage in for the next day. The ice tray as a glaze holder our studios at one time or another. I was a new one for me—so practi- bet there have been many times that cal for the classroom! Perhaps you stood in a store’s gadget aisle you’re already using some of the and thought to yourself, “I might be kitchen items in your classroom: able to use that in the studio!” 32
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
High Quality Clays for every classroom
Kiln Fire Low Fire and Stoneware
&
Air Dry
Seven Varieties
Visit us online for lesson plans & product tips!
www.ActivaProducts.com 1-800-883-3899
Why limit yourself to the standard blue kiln? At no extra charge, choose jade, navy, hot pink, turquoise, berry, black or purple paint. Have the most colorful kiln in your district!
The TnF-27-3 comes with a heavy duty rolling stand and locking casters. Dry greenware on the lower shelf during firing. Speed production by pre-drying your ware.
The short, easy to load Paragon TnF-27-3 For teachers who have difficulty loading a studio kiln, Paragon has an answer: the TnF-27-3. This studio kiln is as short as a hobby kiln. Yet the 12-sided interior is a massive 8.11 cubic feet, slightly larger than a typical 10-sided 29” deep studio kiln. Paragon’s LiteLid spring counter-balance reduces lid weight to several pounds of pressure. The LiteLid prolongs sidewall brick life by eliminating wall flex. The top row of brick is 2” high and without element grooves. It is less susceptible to damage during loading than a grooved brick. Hinged at the bottom, the switch box opens forward. A folding support arm holds the box open for easier maintenance. The Sentry digital controller is mounted at the top of the switch box
within easy reach. Operate it from a comfortable position. You will marvel at the heat uniformity in the TnF-27-3. Elements are tuned to pour extra heat into the top and bottom. A full-formed galvanized steel plate supports the 3” brick bottom. The stand has a solid top that fully supports the kiln bottom. The TnF-27-3 uses 3” thick firebrick throughout instead of the standard 2 ½”. For more details on the exciting TnF-27-3, see your nearest Paragon dealer. Or call for a free catalog.
2011 South Town East Blvd. Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557 www.paragonweb.com info@paragonweb.com
® The widest range of colorful dinnerware safe glazes. Available everywhere.
www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
33
WEB CONNECT AMACO/brent
amacolessonplans.com
ARTS & ACTIVITIES MAGAZINE
>> WE OFFER Lesson plans and
>>WE WE OFFER OFFER Painting, Lesson plans and >> modeling,
videos for teaching clay, glaze and craft techniques.
resources via our Social supplies. Media. printmaking and coloring
>> CHECK CHECK US USOUT OUT New Access digital >> art to and
issues and lesson and plans through STE(A)M products now our Facebook and Pinterest pages. partnered with Crystal Productions.
GET SOCIAL
@AMACObrent @amacobrent
BAILEY POTTERY EQUIPMENT
baileypottery.com
artsandactivities.com www.amep.com
>>GET GETSOCIAL SOCIAL @artsandactivities @amephome @artsactivities @goamep @goamep
BLICK ART MATERIALS
dickblick.com www.artsandactivities.com
>> WE OFFER Everything a school
>>WE WE OFFER OFFER Lesson Big back-to-school >> plans; project
needs: brand-name clay, glazes, pottery wheels, small tools, kilns and so much more.
savingsclassroom on art-room and classideas; resources. room supplies! Visit dickblick. com/landing/backtoschool2017 >> CHECK US OUT Digital issues; back issues; article archive. >> CHECK US OUT Hundreds of free,SOCIAL fun lesson plans! Visit >> GET dickblick.com/lessonplans @artsandactivities @artsactivities
>> CHECK US OUT Your one-stop
shop for all your ceramic needs at the best prices. School purchase orders welcome.
GET SOCIAL
@BlickArtMaterials @Blick_Art
Encourage your Students to Explore and Learn ...
>> WE OFFER Big back-to-school savings on art-room and classroom supplies! Visit DickBlick.com/educators
>> CHECK US OUT Hundreds of free, fun lesson plans! Visit DickBlick.com/lessonplans
In Arts & Activities, art GET SOCIAL educators share their experience, @BlickArtMaterials tips and classroom-proven lesson @Blick_Art plans. Have this high-quality, relevant, time-saving resource in your mailbox each month ...
SUBSCRIBE ONLINE TODAY! artsandactivities.com/subscribe 34
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
SPECIAL ADVERTISING SECTION
WEB CONNECT
SPECIAL ADVERTISING SECTION
CHAVANT,INC. INC. CHAVANT,
chavant.com www.chavant.com
councilforarteducation.org www.diversifiedwoodcrafts.com COUNCIL FOR ART EDUCATION DIVERSIFIED WOODCRAFTS
>>WE WE OFFER OFFER Wide Wide variety variety of of >>
>>WE WE OFFER OFFER Educational Resources toFurniture help >>
>> CHECK CHECK US US OUT OUT Skilled Skilled sculptors sculptors >>
>> CHECK CHECK US USOUT OUT View Connect >> Our with
premier-quality, reasonably reasonably premier-quality, priced modeling modeling clays. clays. priced
jump school’s Youthand for 2Dstart and your 3D art classrooms Art Month Celebration makerspaces.
agree—the fine fine art art of of sculpture sculpture agree—the begins with with the the finest finest clay. clay. begins
art educators across the USA. Products @ www.diversified woodcrafts.com/products. GET SOCIAL @YouthArtMonth GET SOCIAL
GET SOCIAL SOCIAL GET
@Chavantclay @Chavantclay @ChavantInc @ChavantInc
DIVERSIFIEDwww.euclids.com WOODCRAFTS EUCLID'S
#YouthArtMonth @divwoodcrafts @diversifiedwood divwood
diversifiedwoodcrafts.com
LEUCLID'S & L KILN
euclids.com www.hotkilns.com/k 12
>> designed just for >> WE WE OFFER OFFER Kilns Top quality, value
>>WE WE OFFER OFFER Top Educational Furniture >> quality, value
schools; five-year limited warranty. priced replacement kiln elements and parts. Incredible selection of >> CHECK OUT School-Master & tools forUS clay. Easy-Fire top-loading kilns plus front-loading kilns. >> Hercules CHECK US OUT Specialized, hard-to-find clayworking tools, GET SOCIAL elements, and replacement @hotkilns kiln parts.
for 2Dreplacement and 3D art classrooms priced kiln elements and parts. makerspaces. and Incredible selection of tools for clay. >> CHECK US OUT View Our ProductsUS @ OUT www.diversified >> CHECK Specialized, woodcrafts.com/products. hard-to-find clayworking tools, replacement elements, and GETparts. SOCIAL kiln @divwoodcrafts @diversifiedwood GET SOCIAL divwood @thepotterysupplyhouse
hotkilns.com/k 12 L & L KILN www.arteducators.org NAEA
GET SOCIAL
@thepotterysupplyhouse #euclidkilns
arteducators.org NAEA STAR NORTH EQUIPMENT
>>WE WE OFFER OFFER Resources Kilns designed >> for just for
>> >>WE WE OFFER OFFER American Resourcesmade for slab
schools; five-year warranty. professional visuallimited art educators.
rollers, extruders, ware drying professional visual artcarts, educators. cabinets & throwing bats - K-12. >> CHECK US OUT Professional >> CHECK US OUT Dependable development; grants; e-portfolios. quality. Lifetime warranties. Custom extruder & pugmill dies for any GET SOCIAL brand. Get-It-Now shipping. @arteducators @NAEA GET SOCIAL @arteducators @NorthStarEquipmentInc
>> CHECK CHECK US OUT >> OUT School-Master Professional & Easy-Fire top-loading kilns plus development; grants; e-portfolios. Hercules front-loading kilns. GET SOCIAL GET SOCIAL @arteducators
@hotkilns @NAEA @arteducators
northstarequipment.com www.SaxArts.com NORTH STAR EQUIPMENT SAX ARTS & CRAFTS
>> WE WE OFFER OFFER Ideas American >> andmade inspi-slab
rollers, including extruders, ware drying ration, lessoncarts, plans, cabinetsguides & throwing bats - K–12. buying and helpful hints.
>> CHECK CHECKUS USOUT OUT Inspire Dependable >> the artist
quality. in everyLifetime studentwarranties. with our fullCustom line of extruder & pugmill dies for any arts and crafts materials. brand. Get-It-Now shipping. GET SOCIAL @SaxArtsandCrafts GET SOCIAL
@SaxArtandCrafts @NorthStarEquipmentInc @SaxArtsandCrafts
www.ar tsandactivities.com
x
85 Y E A R S •
februar y 2018
www.northstarequipment.com
SKUTT SKUTTCERAMICS, CERAMICS,INC. INC.
skutt.com www.skutt.com
>> wheels >>WE WE OFFER OFFER Kilns, Videospotter‘s on How to
and KilnLink cloudFire the yourbrand-new Kiln. based kiln-monitoring system. >> CHECK US OUT Free Lesson >> CHECK US OUTPhotos Newly Plans. Inspiring ofdesigned Ceramic website; “I Art. am a teacher” section and Glass with videos, lesson plans, articles and GET more. SOCIAL @Skutt.Inc GET SOCIAL
@Skutt.Inc
35
Drying/Storage Racks Over 50 types & sizes
advertiser index
Announcing a new rack size 22”x 32”
Sold through most school distributors
773.777.7100 • www.awt-gpi.com
ADVERTISERS Company Page
Company Page
Aardvark Clay & Supplies
33
L & L Kiln Mfg., Inc.
Activa Products, Inc.
32
Lightfoot/Cartoon Supplies
30
AMACO/brent 3
National Art Education Assoc.
Arts & Activities
10
North Star Equipment
39
Aves Studio LLC
32
Paragon Industries, L.P.
33
A.W.T. World Trade, Inc.
36
Royalwood Ltd.
36
Runyan Pottery Supply Inc.
33
Bailey Ceramic Supply follow us on
5
7
Blick Art Materials
40
Skutt Ceramic Products
Cress Mfg. Co.
31
Spectrum Glazes, Inc.
General Pencil Co.
30
9
2 33
WEB CONNECT Company Page
Company Page
AMACO/brent 34
Diversified Woodcrafts
35
Arts & Activities
34
Euclid’s Elements
35
Bailey Ceramic Supply
34
L & L Kiln Mfg., Inc.
35
Blick Art Materials
34
National Art Education Assoc.
35
Chavant, Inc.
35
North Star Equipment
35
Council for Art Education
35
Skutt Ceramic Products
35
www.artsandactivities.com
Share your Success and Expertise
The companies listed above show their
support for art education by advertising in this magazine. Send a message of appreciation ...
tell them you found them in Arts & Activities .
Join hundreds of other art teachers, and get published in Arts & Activities! Learn how at: artsandactivities.com/ submit/writers- guidelines/
36
MEDIA REVIEWS/SHOP TALK Company Page
Company Page
Barron’s Educational Series, Inc.
30
Peter Pugger Mfg.
31
Mayco Colors
31
Skutt Ceramic Products
31
Odod Books
30 f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
STUDY PRINT
Plate with monkey and cacao pods, 600–900 (late Classic period). Mexico or Guatemala, Central Maya area, Maya. Earthenware and pigment. De Young Museum, Fine Arts Museums of San Francisco. Gift of Gail and J. Alec Merriam.
“When I was a kid, my father didn't really have much hope for me. He thought I was a dreamer; he didn't think I would amount to anything. My mother also.” — Frank Gehry
F
rank Gehry obviously didn’t take what his parents thought to heart. Fortunately for us, he followed his dreams and became an incredible and inspiring architect. I hope that all of you continue to inspire your students to dream big and follow their dreams. In February 2016, the Huffington Post published this article on their blog: “If You Want Your
stamps (great idea) they enhanced their bowls before putting them to dry. Once glazed, they donated the one-of-akind bowls to this good cause. My middle school National Junior Art Honor Society students also made bowls on the wheel for our Empty Bowls event. We also asked local mom and pop Italian restaurants to donate spaghetti for the event. The restaurateurs were overly generous and our guests could have seconds. We weren’t sure if we would have enough bowls to sell so my principal, who is a great supporter of the arts, let me have a pottery day for the teachers. The teachers loved that they could
Dream Big Children to Survive the Future, Send Them to Art School.” I say no more! The month of February is a very busy one with Black History Month, Valentine’s Day, President’s Day, Chinese New Year, Mardi Gras, and Random Acts of Kindness Week. Lots to do this month and here are some great tips to incorporate clay, community connections and getting ready for the spring art show.
tip #1
SOUP’S ON! As a part of an “Empty
Bowls” fundraiser for the local food bank in Lakewood, Washington, Lakes High School art teacher Tracy Fortune’s ceramic students made soup bowls. Her advanced students made theirs on the wheel, while her beginners used a slab of clay gently pressed into a plastic bowl covered with plastic wrap (the plastic wrap prevents the clay from sticking). Using her collection of rubber
ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com
38
learn how to use the pottery wheel and donate to a great cause. This year we are going to make pet bowls as well and donate the money raised to the humane society.
tip #2
ART, ART, WE LOVE ART! Toni Webb, newly retired art teacher from Broward County, Florida, always encouraged every student to have an entry in her art shows. Labeling their work to facilitate her returning the art to students after the show was daunting— until she realized that the school office could print class lists of students on labels, which included their grade and classroom teacher. As each class came to the art room on set-up week, they mounted and stuck the labels on their own work. Then she had the Art Club (fifth-graders) take it to the media center and hang it by category. Toni solicited cash prizes from local businesses, as well as ribbons and medals. To make the judging fair, she engaged fellow art teachers from other schools to be the judges. There were up to 11 categories, each with separate prizes. That also made it easier to get teachers to judge because she could limit their time investment
Glenda L
ubiner
to as many categories as they preferred. She gave them certificates of appreciation to show her gratitude. Classroom teachers were encouraged to bring their classes through the show (located in the media center). She also asked the PTA to serve free refreshments the evening of opening. Parent response was extraordinary, with over 300 attending the opening! (The school had 640 students, and was a Title One school.)
tip #3
DON’T LEAF ME ALONE! It doesn’t have
to be fall to make ceramic leaf bowls. Emily Deacon, elementar y art teacher from Franklin Academy in Pembroke Pines, Florida, had her students roll out a slab of clay with wooden dowels, cut out the shape of a leaf, and add the veins. When they were finished, she had them wad up some newsprint paper in a ball and drape the leaf form over the paper. After they were fired, they glazed them with food-safe glaze and had some great bowls. HAPPY BIRTHDAY to Takashi Murakami (Feb. 1, 1962), Paula Modersohn-Becker (Feb. 8, 1876), Grant Wood (Feb. 13, 1891), Elie Nadelman (Feb. 20, 1882), Pierre-August Renoir (Feb. 25, 1841), and Frank Gehry (Feb. 28, 1929). Thank you Tracy, Toni and Emily for your great 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.
f e b r u a r y 2 0 1 8 • 85 Y E A R S
x
www.ar tsandactivities.com
Masterful Mishima Lesson Plan for Grades 3–12
Step 1: Brush underglazes onto leather-hard clay. Allow to dry until it feels dry to the touch. Apply a layer of wax resist and allow to dry for at least one hour.
Step 2: Carve into the wax to reveal the clay beneath.
Step 3: Brush underglaze over the carved lines. Sponge underglaze off waxed areas. Allow to dry, then fire.
Bring a 16th century pottery decorating technique to life! Creating intricate clay drawings in the Korean Mishima style is fun and easy. Begin by applying colorful underglazes and a wax resist to clay. Carve an original design into the wax to expose the clay beneath, apply a dark underglaze to the carved lines, then fire!
DickBlick.com/lessonplans/masterful-mishima Alliance for Young Artists Writers
&
materials for art FREE SHIPPING on
EXPLORE NEW lesson plans and video workshops at DickBlick.com/lessonplans. For students of all ages! education
orders of $49 or more! Some exceptions See page 672apply.
REQUEST A
FREE CATALOG!
BLICK ®
DickBlick.com C18 Scott Listfield.indd
1
2018
800.447.8192
10/30/17 8:28 AM
DickBlick.com/requests/bigbook
®
800•447•8192 DickBlick.com
4th Annual
Mixed Media
I can
connect
CONTEST
To enter, visit: DickBlick.com/mixedmediacontest