Arts & Activities Magazine March 2018 by Arts & Activities

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CONTENTS VOLUME 163, N o. 2

MARCH 2018

MAKING THE MOST OF COLOR 12 ALIVE AND KICKING: MARKING & MIXING WITH MOE Don Masse 14 PERSONAL STILL LIFE IN A BOX Sandi Pippin 16 TAKING RISKS WITH THE ANATOMY OF ART Kathleen Petka 26 COLORFUL VAN GOGH LANDSCAPES Josey M. Brouwer 28 “VALUING” SELF-PORTRAITS Hugh Petersen 30 ABSTRACT CITYSCAPES Sarah Hemendinger YEARLONG SECONDARY ADVANCED ART SERIES 10 AN AMPED-UP CURRICULUM, ARTICLE 7 OF 10: A DAY IN THE LIFE Debi West

SPECIAL FEATURES AND COLUMNS 6 STEPPING STONES: PREPARING FOR SEATTLE’S NAEA CONVENTION Heidi O’Hanley

8 CHOICE-BASED ART: STUDIO HABITS FOR MIDDLES AND LITTLES Catherine “Kate” Nesmith and Holly Bess Kincaid

23 ON THE ART CAREER TRACK: DESIGN THINKERS Irv Osterer 38 TRIED & TRUE TIPS FOR ART TEACHERS: THE COURAGE TO TRY

Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES

19 ARTS & ACTIVITIES ART PRINT: CARL LARSSON, LITTLE RED RIDING HOOD AND THE WOLF IN THE FOREST Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT, THREE LITTLE PIGS: THE WOLF BLOWS DOWN THE HOUSE OF STRAW Leonard Leslie Brooke

A&A AT YOUR SERVICE 33 SCHOOLS AND SUMMER WORKSHOPS 36 ADVERTISER INDEX

DEPARTMENTS 4 EDITOR’S NOTE 34 SHOP TALK 35 MEDIA REVIEWS ON THE COVER

UNTITLED (detail) Chalk and oil pastel on black construction paper, 16" x 12. By Naif, grade 4, Zamorano Fine Arts Academy, San Diego, California. See “Alive and Kicking: Marking & Mixing with Moe,” page 12. 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. 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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16 3

e d i t o r ’s n o t e

We have so many lessons that make the most

(page 12). This time, youngsters learn about Moe Booker, whose art is the catalyst for their energetic, lyrical drawings. Moe believes we should not be afraid to take chances in art making. If, in the end, we can resolve the way we’ve used the elements, that winding journey is all good. Writes Don, this is “relevant for our students to hear and to understand as they work through

Thomas von Rosen

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

of color this month, it’s hard to choose a favorite! Maybe it will be “Marking & Mixing With Moe,” the latest in Don Masse’s “Alive and Kicking” series

president

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

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

Jerome J. Hausman Lecturer, Consultant and Visiting Professor, at The School of the Art Institute of Chicago Barbara Herberholz Art Education Consultant, Sacramento, California George Székely Senior Professor of Art Education, University of Kentucky, Lexington

design challenges, and as they find their voice in visual art.”

Looking for a color-filled project that has it all? Josey Brouwer’s “Colorful van Gogh Landscapes” is an elementary-level

CONTRIBUTING EDITORS Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois

lesson that provides “everything from the study of a well-known artist to

Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota

explorations in texture, color, and a variety of media.” Find it on page 26.

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

In “Abstract Cityscapes” (page 30), Sarah Hemendinger’s young artists study cityscapes painted by a trio of great artists, learn about realistic versus abstract, and brainstorm approaches to creating cityscapes. Then, with lines and shapes, they create their own such drawings, using color to represent the mood, time of day, and weather they want to convey in their pictures.

Exploring the Photoshop image-adjustment tool, ®

“Posterize,” gaining more of an understanding of the element of value, and working with chalk pastels—Hugh Petersen’s “‘Valuing’ Self-Portraits,” has middle-schoolers mixing modern technology with traditional art materials and techniques. Find it on page 28. For high school, see Kathleen Petka’s “Taking Risks with the Anatomy of Art.” Among its objectives are students becoming more aware of the human

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

skeleton and form, understanding scale and measuring the proportions of

HOW TO REACH ARTS & ACTIVITIES

the body, improving direct-observation drawing skills, feeling comfortable

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with various media, and being more open to taking risks with art. That’s quite a list, but Kathleen competently spells it all out, starting on page 16.

One cannot say we haven’t presented you with a winning assortment of ways you and your students can “make the most of color.” Pick a lesson, try it out in your art room, and let us know how it goes!

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

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Stepping Stones 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.

PREPARING FOR SEATTLE’S NAEA CONVENTION

BY HEIDI O'HANLEY

et ready, because this year’s NAEA convention is taking place in Seattle, Washington, March 22–24th! I remember visiting Seattle for the convention back in 2011. With living in the Midwest, the two-hour time difference had me up and ready at 5 am! I enjoyed walking around the city in the early morning, viewing the outdoor sculptures, and watching the set up at Pike Place Market. There are so many hidden gems in Seattle to visit outside of the convention and so much to do while at the center! I’d like to offer some tips in preparing for the national convention and visiting the city of Seattle.

BE PREPARED FOR THE WEATHER! Seattle has been known for its rainy weather patterns, so keep a close eye on the forecast! Prepare to dress warm and bring a travel umbrella in case of rainfalls in March, but hope for the light cardigan weather. The average weather last March in Seattle was in the 50s, so hope for decent weather this year! The waterfront (which is walking distance from the hotel and convention center) is also the best place for morning strolls.

DON’T FORGET YOUR WALKING SHOES! Even if you’re not a morning runner, there’s a lot to do within the city. Straight down Pike Street is the Pike Place Market on the waterfront, then a short walk to the left will lead you to the Seattle Art Museum and SAM Gallery. There’s also a beautiful sculpture garden along the waterfront leading up to more galleries, coffee shops and shopping! You can also make the hike to the Space Needle observation deck and Seattle Center, and if you get tired, you can take the monorail back toward the convention center.

USE THE NAEA SEATTLE CONVENTION APP! Since NAEA created their convention app a few years back, it became a valuable resource for planning sessions to attend (broken down by topics, presenters, and divisions), handson workshops to enjoy, connecting with friends, and learning more about super session and guest speakers. The app is available for free for your phones and tablets. You can also use the app to write and store notes while attending presentations, plus handouts can be uploaded for specific sessions.

MAKE ROOM IN YOUR LUGGAGE FOR THE VENDORS’ LARGESSE! It’s highly recommended not to over pack

before you head to the conference. Save some room for those samples and goodies you want to take back to your classroom, generously given by vendors in attendance! The vendors consist of companies that supply your art materials, 6

magazine subscriptions, art fundraisers, books and posters, and much more! You can also order supplies while at the convention to be shipped to your school.

PRINT LABELS WITH YOUR ADDRESS FOR RAFFLES, GIVEAWAYS AND MORE! I describe the vendor area as

an art teacher’s toy store: multiple vendor giveaways, mailing list sign-ups, and prizes. Labels make it much easier for you to place a sticker and go instead of spending time hand writing your entire address and phone number from booth to booth.

PLAN SOME TIME TO VISIT SEATTLE! There’s plenty to

do off site from the convention. You will be close to plenty of attractions, such as the Seattle Art Museum, SAM Gallery, Seattle Center, Museum of Pop Culture, and other various galleries filled with contemporary artworks in various media. The Olympic Sculpture Park is an offshoot of the Seattle Art Museum that features various sculptures spread over a spacious park. There’s also Bill Speidel’s Underground Tour, Gum Wall (near Pike Place Market), The Seattle Aquarium, and if you travel further west, the Seattle Japanese Garden, featuring a cherry orchard, water features, and a teahouse.

MAKE A STOP AT THE INFORMATION BOOTH! The volunteer committee will be available to help direct you to where you need to go! From local restaurants, workshop locations, to cultural attractions and more, members are around to help you with any assistance you need.

ATTEND THE SOCIAL MEDIA “MEET-UPS.” If you’re on Twitter (#artsed #pln), Facebook (Art Teachers Group and sub groups), or any other social-media outlet, there will be plenty of meet-ups and events around the convention. Keep an eye out on your preferred social media network for extra gatherings to meet people face to face!

FOLLOW THE #NAEA18 TAGBOARD. NAEA’s tag-

board is the quickest way to gather all the #NAEA18 tags from different sites. Just go to tagboard.com/naea18 to view all the posts and follow what’s happening! If this is your first convention, I hope you have a wonderful experience! There’s so much to do and see on and off site, you will leave with a head full of ideas and inspiration for your classroom, curriculum, and art department. The convention is one of the best professional development opportunities available for art teachers! Have fun and be inspired! 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. m a r c h 2 0 1 8 • 85 Y E A R S

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Choice-Based Art

Edited by Nan Hathaway

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

STUDIO HABITS FOR MIDDLES AND LITTLES BY CATHERINE “KATE” NESMITH AND HOLLY BESS KINCAID

o you find it difficult to define how you’re teaching art? We found ourselves discovering the Studio Habits of Mind (SHoM) around the same time, and were drawn to the simplicity of eight interconnected habits used by professional working artists. The habits are: Observe, Envision, Stretch & Explore, Engage & Persist, Express, Develop Craft, Understand Art Community, and Reflect. We knew with a bit of adaptation, our little and middle-level artists could also benefit from thinking about and using the SHoM in our classroom art studios. We teach in highly diverse school communities, and our students have many unique needs and skill sets. We wanted to ensure the experiences our students had in our art studio classrooms fostered individual growth, in a safe, encouraging environment. Adapting the SHoM definitions into language that suited our school communities forced us to carefully analyze our goals as art teachers, ensuring that even our youngest and most challenged students would be able to know and apply the ShoM. THE SHoM ARE THE RESULTS of a multi-year research proj-

ect from the Harvard Graduate School of Education. The project investigated how the arts are taught, what students learn, and how teachers design instruction for the arts, and resulted in the book Studio Habits 2: The Real Benefits of an Art Education (Hetland, Winner, Veenema & Sheridan, 2013). We found the book to be a helpful tool as we redefined the craft of teaching art for ourselves, our administrators, and our students. For us, the SHoM highlight the importance of an art teacher’s role in helping students identify what it means to be an artist, and the various ways a student can foster their own artistic understanding and growth. We like to think of these eight habits as an awareness we want to cultivate in our students throughout their art-making experiences in our classrooms, rather than as individual concepts to be introduced and taught. The SHoM have given us language to use as we help our students make connections between techniques and ways of working with their personal art making and understanding of their place in the greater arts world. What follows are ways we have introduced the various SHoM to our K–8 students: (1) OBSERVE. Littles: We spend time discussing and describing things as a group and sharing what we notice in fine ar t examples, personal ar tworks, illustrations. Middles: 8

Students learn to look carefully at fine art examples and write a “THINK”: Tell (what you see) How do you know that? Interpret Now, what do you think? Know the artist (biographical details) This helps to practice developing a critical eye. As they are working on a piece, students are encouraged to look from a distance to identify necessary changes. (2) ENVISION. Littles: Through various lessons, students explore ways to use their imagination and identify personal reasons for making art. Middles: Students develop plans for their projects, including a goal statement of a skill or material they’d like to improve upon. (3) STRETCH & EXPLORE. Littles: Students have independent access to many “helper” tools in the art studio, including tracers, whiteboards for sketching, starter papers, and technique and material videos. Middles: Students complete small projects that introduce them to new media, and have a rich print and digital resource area in the classroom. (4) ENGAGE & PERSIST. Littles: The “Art Smart Wall of Fame” is a way to celebrate the small efforts that lead to big achievements in the art studio! Middles: The “I Can” (a tin can we covered in googly eyes) is a funny, non-threatening way to encourage positive self-talk. (5) DEVELOP CRAFT. Littles: Visual lists help students learn specific techniques. Middles: Demonstrations of various media are presented, with lots of high-quality examples from student-produced to fine art. (6) EXPRESS. Littles: We discuss where artists source their ideas, and practice ourselves. Middles: Project prompts ask students to express specific ideas with choices in media. (7) REFLECT. Littles: Students discuss art with their peers and write reflections on “Today I learned” posters. Middles: Self-reflection rubrics and artist statement frameworks help guide reflections. (8) UNDERSTANDING ARTS COMMUNITIES. Littles: Students learn the studio is a shared space and they help contribute to the flow and function of the room. Middles: Models for caring for the materials, space, and one another are consistently reinforced as students explore global influences for their own art-making. We hope you find these suggestions a helpful jumping off point for your own explorations in the SHoM! Our studentfriendly SHoM definition posters are linked on our websites: www.katenesmith.com and www.capitolofcreativity.weebly.com. n Kate Nesmith heads up the visual arts program at the Shenandoah Valley Governor’s School. Holly Bess Kincaid has taught for 23 years at the elementary level and middle school levels in Texas and Virginia. m a r c h 2 0 1 8 • 85 Y E A R S

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Yearlong Secondary Advanced Art Series | AN AMPed UP CURRICULUM

A Day in the Life by Debi West

ne thing I have noticed over the years is that our students don’t really reflect on their daily actions very often. So I thought it might make for a fun lesson so have them journal “a day in their life” and see what sort of visual images they might come up with! WHEN I INTRODUCED MY STUDENTS

to this concept they were a bit hesitant at first. I told them that each hour of each day is a gift, and considering how

they utilized their time might actually be a win/win. So that week they were required to journal a minimum of three days and then brainstorm what these activities would look like as a completed artwork. Immediately, students began to see the value of really reflecting on what they do and how they utilize their time. Here is an example of one student’s journal entry: “I wake up and hit my snooze button, A LOT! Next, I take a shower and put on my make-up, brush my teeth, get dressed and make a coffee. Then I drive to school and I cuss a lot because of the traffic (that’s good to know because it’s probably why I’m in a bad mood by the time I actually get to school). Next I go to my 1st period class, which is math and I really hate it. Then I go to my 2nd period, which is Library Science and I really love that so now my mood is getting better. 3rd period is Language Arts, which I enjoy

sometimes and next is my 4th, which is early lunch. I usually go to the art room and work in my visual journal or a project and then 5th period I have my actual art class so that’s always great. I want to stay here all day.” Sixth period is physics and my mood tends to get grouchy again. 7th period is Spanish and at the end of the day I am back in the art room working on my stuff. I leave school and go to work at Chick-fil-A and then I come home, do some homework and go to bed and start all over again the next day.” AS WE DISCUSSED HER JOURNAL ENTRY, I asked her to go even deeper

and think about when she was on her phone (which we all know is A LOT!), bathroom breaks, hanging with her friends, which she does a lot as well from my perspective. I had her consider the people she interacted with and how these people made her feel. I had her consider the music she listens

The challenge: Students will journal “a day in their life” and see what sort of visual images they might come up with.

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ARTICLE 7 OF 10

The results of this project are always delicious! Students dig deeper, and their journal thoughts become journal sketches, which then turn into big ideas.

to throughout the day, the clothes she wears, the getting gas in her car, shopping experiences, and so on. I also had her dig a bit deeper into the emotions she felt and I applauded her for sharing them in her entry. What did the “bad mood” feel like, and what did it feel like to move into the realm of a “good mood” again? All of this reflecting becomes a wonderful way to think creatively and divergently about art prompts. These journal thoughts Go to artsandactivities.com and click on this button for resources related to this article.

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become journal sketches and these turn into big ideas. In AP art, it’s important for students to begin to think about their own prompts, which will ultimately become their AP concentration. Once students had several entries in their journals, they began to consider the imagery that would tell their personal “day in the life” stories. The results were beyond fantastic and held so much meaning. This is when student’s advanced art begins to move to the next level! And it also shows that we, as teachers, care about our students. I’ve always said

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that “they don’t care how much we know, until they know how much we care” (Thomas Jefferson) and when they know we care, their work becomes even stronger! Next Up: “Verbs and Nouns.” 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. 11

ALIVE

and kicking LEARNING OBJECTIVES Elementary students will … • create tints of colors. • experiment with chalk pastels to create an original visual composition. • reflect on the creative process in complete written sentences.

NATIONAL ART STANDARDS

•

CREATING: Exploring and inventing artmaking techniques and approaches.

MATERIALS

• •

Chalk pastels, black oil pastels 12" x 16" black construction paper

by Don Masse

et me start by saying that I’m a big advocate of using abstract visual exercises with elementary-school students to boost confidence with materials and to emphasize an understanding of composition and shape arrangement within the picture plane. I also offer students experiences in creating figurative art, and often bounce back and forth between the two, so students can see how the concepts and materials they’re building fluency with can be used to create works of art that look a lot different from each other. MY FOURTH-GRADERS RECENTLY exper-

imented with chalk pastels, layering, creating tints, and mark making as the first part of their color and chalk pastel/ oil pastel unit. For inspiration, I shared the work of Philadelphia-based nonobGo to artsandactivities.com and click on this button for resources related to this article. 12

jective painter, Moe Brooker. He layers energetic, varied “scribbles” that I liken to the music notes you find on sheet music, over patterned areas and larger geometric shapes. He uses tints of colors to add variety to shapes and to fade sections of compositions in and out. Moe has spoken much about his work over the years and speaks strongly to the notion that you should not be afraid to take chances in art making (and in life in general). In one lecture, he talked about listening to Charlie Parker and that, if you took certain parts of an arrangement out, they wouldn’t work as individual pieces, but as you listen to the arrangement in its entirety, Parker resolves them all at the end. Moe went on to say that this holds true with visual art making. Artists and our students should not be afraid to take technical or aesthetic risks, because as long as we can resolve the way we’ve used the elements in the

end, that winding journey is all good. I think this is so relevant for our students to hear and to understand as they work through design challenges, and as they find their voice in visual art. WE STARTED the lesson by looking at a

short video of him working and talking about art. He believes strongly in the connection of color and music/sound. I love introducing our focus artists with short videos, so the students can gain a stronger connection to the artist and the design challenges to come. After watching the video and looking more closely at a few of his paintings, we rolled up our sleeves and experimented with chalk pastels, using his visual vocabulary as a springboard for a wide variety of nonobjective drawings. While students worked, I played jazz in the classroom, similar to what they heard playing in Moe’s studio in the video clip. I encouraged them to

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Students were encouraged to be aware of the music playing in the room, and to think about how their marks might reflect its energy.

think about how the music was affecting them and, if possible, respond to the sounds in the colors and marks they would include in their work. Students started by laying down three or four colors to serve as the background. They smoothed out some areas and left other areas rough. They then added smaller shapes that overlapped two or more of their background shapes. Again, smoothing some. Tints were added next. Students could choose to apply white to whole shapes or parts of shapes for added variety. Patterns were added on top of at least a few areas of their compositions. Some students added a lot, some were more selective in their approach. I asked them to add white to at least one patterned area. Finally, it was time to scribble. THIS IS THE STEP many thought would

Fourth-graders experimented with chalk pastels, using Moe Brooker’s visual vocabulary as a springboard for a wide variety of nonobjective drawings.

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be the easiest part of the process, but they discovered that it was actually more challenging than they were anticipating. I found this point in the experience fascinating—students needed to take a chance with their final marks. Some jumped right in, while others were hesitant to “ruin” their drawing. Before starting, I had students switch to a black oil pastel because the marks could be controlled a bit more with it. They could also use other chalk

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pastels for this part and could blur their marks as well. I modeled a bit of controlled, energetic mark making. We talked about looking at their existing compositions and responding to what was there. They could look for larger empty spaces, add and layer over existing patterns, and/or vary thin and thick, long and short marks. Again, I encouraged them to be aware of the music and to think about how their marks might reflect its energy. TO WRAP UP, students completed an exit slip that got them reflecting on the process. They needed to identify how they created tints of colors. They also needed to address what the most challenging part of the experience was for them and why they felt that way. I was stoked by how vibrant and energetic these drawings turned out. As a follow up, my fourths continued to experiment with chalk pastels, applying some of the same techniques to create a desert landscape inspired by the work of Ed Mell. Again, reinforcing how you can use the same techniques and skills with materials to make images that are of drastically different styles. n

Arts & Activities Contributing Editor, Don Masse, is a K–5 visual arts teacher at Zamorano Fine Arts Academy in San Diego, California. 13

Personal Still Life in a Box by Sandi Pippin

very year, I had the challenge of making my studentsâ&#x20AC;&#x2122; art personal. One way I accomplished this was by having my Art 2 Drawing and Painting students collect small, meaningful personal items, and arrange them for a still-life drawing. I would plan ahead for this assignment by asking the vending-machine man to please save for me the flat, corrugated cardboard boxes that held the soda cans. One per student was needed. These boxes could be easily stored on top of cabinets or counters. They were portable in the classroom and could even be transported home, if necessary. Before work began, students would write their names on the boxes in permanent black marker to easily identify their still lifes. THE

STUDENTS

THEN

ARRANGED

their items in the box, using masking or duct tape to secure the items in place. The students then made three thumbnail sketches in their sketchbooks and selected the best view of their items. They blocked out their still life on 12" x 18" sulphite paper, using contour line to draw the individual objects. After the entire still life was blocked in, the students would concentrate on adding in the details and values of the composition. I had

The high-school artists started with the light values and ended with the dark values and cast shadows. 14

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LEARNING OBJECTIVES High-school students will … • find objects that have personal meaning to them. • create a composition with these objects. • become aware of a light source and incorporate it in the composition. • use blended values in the composition.

Adding contrast in values brought ordinary drawings to the next level.

NATIONAL ART STANDARDS

•

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

•

• • • • •

them focus on the light source and cautioned them to seek the same position of the box on a daily basis. That way, the light source would be consistent. The students started with the light values and ended with the dark values and cast shadows. We used blended shading with No. 2 pencils and ebony pencils. Adding contrast in values to their composition brought an ordinar y drawing to a one that would delight the viewer. Students were encouraged to look for shadows and emphasize the darks, and advised to create the illusion of depth in their compositions through www.ar tsandactivities.com

Flat corrugated cardboard soda trays/ boxes (one per student) Still-life items with personal significance Masking or duct tape No. 2 and ebony pencils Magic Rub vinyl erasers 12" x 18" sulphite paper

the use of strong contrasts. A classroom and hallway display followed completion of the still lifes, which indeed delighted viewers. n Retired after teaching art for 38 years, Sandi Pippin taught at Langham Creek High School in Houston, Texas.

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Small, meaningful personal items were arranged for still-life drawings. 15

Taking Risks with the Anatomy of Art by Kathleen Petka

his is one of my students’ favorite lessons for several reasons. First, the media they experiment with are switched out daily—including the surface material! The techniques are also varied, so during this fun and educational two-week lesson, students are excited and surprised with what they encounter walking into the art room each day. The objective is to be more aware of the human form. We begin with some worksheets that explain the proportion of the figure and facial features so the students understand scale and can measure the proportion of the body.

ON THE FIRST DAY, students draw a full skeleton twice, in order to get the proportions correct. Then they crop one part of the skeleton, focusing on this smaller area rather than the full body. They must use the entire sheet of paper and make an Day 1: Drawing the skeleton. interesting composition. Day two, we start gesture drawings. I share a PowerPoint with examples of gestural drawings, and display some throughout the art room. We begin with charcoal and four

Ink and watercolor.

Day 2: Gesture drawings on newsprint.

LEARNING OBJECTIVES High-school students will ... • be more aware of the human skeleton and form. • understand scale and measure the proportions of the body. • improve direct-observation drawing skills. • feel comfortable with various media. • be more open to risk-taking risks.

NATIONAL ART STANDARDS Sixteen 30-second poses.

Four two-minute poses.

• • •

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 external context.

MATERIALS

• • •

Eight one-minute poses. 16

Two five-minutes poses.

Human skeleton model Paper: newsprint, white, black construction Charcoal, graphite and charcoal pencils, erasers, colored pencils, drawing pens, crayons, markers, • Watercolors, brushes, water containers m a r c h 2 0 1 8 • 85 Y E A R S

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Day 4: Chalk pastels and colored pencils on black paper.

Day 3: Contour line drawing.

Sketch of full skeleton.

Cropped area sketch.

sheets of 18" x 24" newsprint. Students fold their first sheet into 16 rectangles (folding the paper twice horizontally and twice vertically) and begin with 30-second poses. Then, we move on to a second sheet, which is folded into eight rectangles for one-minute poses. The third sheet is folded into with four sections for two-minute poses. Finally, the fourth sheet is folded into two sections for five-minute poses. With the short poses, students are to capture the quick movement of the body and not focus on any facial features. As the time increases, I instruct them to pay attention to details like the folds and wrinkles of clothing, and the various lights and shadows. THE THIRD DAY, we work with two sheets of newsprint and one sheet of white drawing paper. Students work from 30-second, one-minute, two-minute, and five-minute poses. Once we move to longer poses, we change the medium to charcoal pencils on white paper, or white charcoal pencils on black paper. After we complete our longer poses, students hold up their work to share what they’ve done. It’s always fun to see how creative the students are with the same model and www.ar tsandactivities.com

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Day 5: Subtractive.

True contour line drawing with value added. 17

Chalk pastels and colored pencils on black paper.

Continuous line.

what they decide to “capture” in their drawings.

chalk pastels and colored pencils on black paper. To mix things up on another day, we use the subtractive method, where we prime our surface with charcoal and use erasers to draw the figure. Students would then go back in with charcoal to add expressive lines. For the remaining days of the two-week unit, students use pens for the continuous-line method, as well as cross-contour line drawings on colored construction paper. I also give them the option of using various other materials, such as India ink on cardboard and construction paper, watercolor with pen,

On the final day, students may choose whatever media and surface they would like, and we do one long 40-minute pose. 18

Cross-contour drawing.

ON THE NEXT DAY, we use

India ink on cardboard.

watercolor with crayons, and chalk pastel on black paper. On the final day, students may use whatever media and surface they want and we do one long 40-minute pose. MOST OF MY STUDENTS

are sad when this unit is over (and so am I). There are so many variations to drawing the figure that this lesson could easily be extended, and all ages and levels can participate in a fun, creative way to learn how to understand and capture the figure. This is more than just an exercise for many of my students: I tell my AP Studio Class they can use a few of these drawings for the Breadth section of their AP Portfolios. They can also go back in on one of their drawings and push it further to make it more of a finished piece. This is a fun two-week unit because we switch materials, techniques, and even the surface of the paper so each day is different. Every time I do this lesson, I watch the students’ skills improve immensely from drawing from direct observation and find that by the end, they’re more open to take risks now that they feel comfortable with various media. n Kathleen Petka teaches visual art at Walton High School in Marietta, Georgia. m a r c h 2 0 1 8 • 85 Y E A R S

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A&A Art Print: Respond and Connect Carl Larsson (Swedish; 1853–1919). Little Red Riding Hood and the Wolf in the Forest.

“Children, We Should Love One Another, Because Love is Everything.” Carl Larsson, from his painting, Old Anna, c. 1895

MAIN VISUAL ART CONCEPTS: Color • Texture • Contrast • Value • Narrative

•

BOTANY: The tall white flowers that spread horizontally across the painting appear to be a variation of the plant Queen Anne’s lace, otherwise known as Daucus Carota or wild carrot. The young roots are edible. Notice how the flower on the far right leads our eye to the darkest part of the forest.

• •

• • •

•

BRUSHSTROKES: The texture of the plants in the foreground is masterful. Larsson used similar quick brushstrokes to depict the grasses in the clearing, as well as fur of the wolf, establishing a somewhat prickly atmosphere in which the story unfolds.

•

POINT OF VIEW: We see the wolf as he begins to work his plan with Little Red Riding Hood. Depicted from behind, the wolf seems to be using his best manners. He ingratiates himself with the little girl, all the while anticipating his tasty meal ahead. Larsson has set up the plot in his painting, using spots of light to guide our eye down the path, deeper into the forest and the story.

LYCANTHROPY: In Little Red Riding Hood, the wolf tries to take on a human personality. When those roles are reversed, and a human takes on the personality of an animal, it is called lycanthropy. In the United States, perhaps a werewolf is the most common example. There is historical evidence from numerous cultures that lycanthropy as a spiritual practice or psychological condition has existed under a variety of circumstances.

BIOGRAPHICAL NOTE: Artist Carl Larsson (1853–1919) grew up in poverty in “old town” Stockholm, Sweden. He had a calamitous childhood with an abusive father. Larsson overcame great odds and ended up happy and successful. Larsson painted this piece two years before he was married. He and his wife, Karin, had eight children. Even before he had any of his own, his affection for children is evident in the way he painted the tender innocence of Little Red Riding Hood.

THE NAME GAME: It’s fun to learn names of people from places other than the United States. Larsson’s eight children were named: Suzanne, Ulf, Pontus, Lisbeth, Brita, Mats, Kersti and Esbjörn.

•

COLOR: Green is a secondary color made by mixing yellow and blue. On the color wheel, on either side of green are blue-green, yellowgreen, and many other greens in between. Larsson uses almost every shade of green to depict the lush forest he imagines. In contrast, the red (which is green’s opposite or complementary color) of Little Red Riding Hood’s hat and cloak against the lighter hues focuses our attention on the main subject.

•

BIOLOGY: Wolves are very social; they live and hunt in packs. It would be unusual for a single “Lone Wolf” to behave as the one did in the story of Little Red Riding Hood. This wolf serves as a metaphor for cunning and deception. When he poses as her elderly grandmother, it might bring to mind a cautionary message that the people we should be able to trust the most might be the most dangerous.

PHYLOGENY: The term “phylogeny” is mostly used in science to mean the evolutionary history or series of changes in species over time. Anthropologist Jamshid Tehrani carefully traced the story of Little Red Riding Hood as it evolved from oral history to the first-known written documentation in an 11th-century poem from Belgium, and beyond. Worldwide, there are many variations of a similar story. In his article Tehrani provides some very impressive diagrams that, coincidentally, resemble trees.

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Carl Larsson (Swedish; 1853–1919). Little Red Riding Hood and the Wolf in the Forest, 1881. Oil on canvas; 14.6" × 17.7". / Public domain. ©

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

STAMPING THROUGH THE FOREST. When creating art with kindergartners, newspaper is usually placed under their artwork to protect the desks from getting painted. In this case, the newspaper is an integral part of the art itself!

COMICAL, CRAFTY AND CUNNING. The animated nature of these

Artwork by kindergarten students of Alexis Buchanan at Dudley Shoals Elementary School in Granite Falls, North Carolina.

These mixed-media pieces, a combination of printmaking (stamping) and collage, are wonderful for depicting the scale of Little Red Riding Hood in relation to the forest. The tiny figure in the foreground (wearing solid red clothing) contrasts sharply with the vertical stripes of the newspaper trees. Teacher Alexis Buchanan provided textured stamps for the students to fill in textured differences between the sky and the vegetation. While helping the students develop fine motor skills, she cleverly advises, “Tearing newspaper for the trees and drawing/cutting out Little Red Riding Hood should be done first. This way, after printing the textured background, the wet paint acts as an adhesive.” Notice the variations of how the students filled in and overstamped their patterns in order to create more density of color. The other “natural” patterns of typeset words and printed images on newsprint are fun to consider, as they have introduced a new kind of instant birch-like bark.

NATIONAL ART STANDARDS: Kindergarten CREATE: Through the experimentation, build skills in various media

and approaches to art making; Create art that represents natural and constructed environments. CONNECT: Identify a purpose of an artwork.

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.

comical wolf illustrations makes them catch the eye as well as the imagination. Each pen and ink drawing features a single hairy and wily-seeming wolf that is “anthropomorphized” by standing on its hind legs and engaging in human activity.

Pen-and-ink drawings by high school Art 1 students of Richard Nowell at Northridge High School in Tuscaloosa, Alabama.

Oddly, the inspiration for this lesson by teacher, Richard Nowell, was based on ancient literature. The poem, The Aeneid, by Virgil (70–19 BCE) includes the story of Romulus and Remus. Nowell decided to bring the nurturing wolf to contemporary times, “I was teaching my class the story about how Rome was created by the twin boys who were nursed by a she-wolf in the wild. The drawings they made were of wolves in modern times.” Just like the wolf in Little Red Riding Hood, these wolves are imposters, but believable imposters. The illustrations are lively because of the gestures and facial expressions of the wolves. Their texture and supporting details lend credibility, even though we know they are inventions. Perhaps this is how the wolf in Little Red Riding Hood got away with as much as it did. We, like Little Red Riding Hood, simply want to believe.

NATIONAL ART STANDARDS: High School Proficient

CREATE: Organize and develop artistic ideas and work. RESPOND: Hypothesize ways in which art influences perception

and understanding of human experiences. Enduring Understanding: Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural world, and constructed environments.

Rebend staples to keep magazine intact. Laminate the pulled-out section and use it as a resource in your art room. — Editor 22

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on the

ART CAREER TRACK

De SIGN

THINKERS

by Irv Osterer

esign Thinkers 2017 (DT2017) was a significant event for students in our school’s Communication and Design Specialist High Skills Major program. From the moment they entered the conference venue and received their individualized registration packages, through the last session, these high-school students were exposed to the realities and excitement of their chosen career paths. Attending DT2017 provided them with the experience, independence and an opportunity to network that they are not likely to forget. All left with an increased commitment to their chosen profession, and to the irreplaceable value of attending a conference where experts from a wide spectrum of applied design open the door to unlimited possibilities.

Pum Lefebure showed how chocolate-bar sales improved exponentially during the recent U.S. election when rebranded with political stripes. Images courtesy of Design Army.

Timothy Goodman and creative partner Jessica Walsh designed and organized this very effective “Wall” protest in front of Trump Tower in New York City. Image courtesy of Timothy Goodman and Jessica Walsh.

FOR ALMOST 20 YEARS, the Design Thinkers Conference has

showcased emerging innovations in the communication and design industry. The event champions creative pioneers whose work is reshaping our connected media landscape while simultaneously engaging with emerging talent. The conference theme “Perspectives” challenged delegates to see the world from a different point of view. The students were moved by this urgent obligation to articulate their creative output and enrich their communities. Even the most reluctant students felt included and buoyed by their inclusion in the sessions and events. In perhaps the most entertaining and inspirational talk at www.ar tsandactivities.com

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DT2017, Timothy Goodman discussed disengaging from mainstream corporate work in favor of more personal projects conducted through social media. “Finding your voice matters!” Goodman exclaimed. In the past five years, he has done exactly that—through illustration, writing and social experiments. Goodman changed the aesthetics of his oeuvre by elevating the Sharpie® to his creative tool of choice. His Sharpie Art Workshop (Quarto Publishing Group, 2015) is a book that all elementary and high-school art departments should examine. Its pages advocate for the intrinsic beauty and distinct quality of hand rendered type in an era where many of these skills have been previously marginalized. Goodman discussed artists and designers raising public awareness. One of his most recent and publicized projects, “Build Kindness and not Walls,” reflected the design community’s response to the Trump administration’s promise to build a wall on the US/Mexican frontier. His brilliant creative wall in front of Trump Tower in New York City garnered considerable media attention—an example of the potential artists have to inform the public and make our leaders at least reconsider their decisions. 23

An on-site book store allowed conference attendees to look at some of the latest applied design publications.

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Sarah Hyndman’s talk was sponsored by Monotype, who had conducted an online poll to determine which of 10 of their fonts best represented one’s persona. Each participant was then given a T-shirt printed with that font. It was a big hit with everyone. There were several hands-on art type activities for the delegates attending the Design Thinkers conference.

SIDE PROJECT CEO, Jeff Greenspan, also focused on how

designers should be prepared to use their marketing and advertising skills to promote social-justice causes. Greenspan and partner Andrew Tider commissioned a bronze bust of Edward Snowden and cemented it on a Brooklyn memorial dedicated to prisoners of war killed during the American Revolution. The piece was confiscated by police, but it sparked debate over whether Snowden’s actions were honorable. The sculpture is now in the Brooklyn Museum. After establishing himself as one of England’s most influential graphic designers, Michael Johnson, now works exclusively with clients whose values he sees as ethically correct and morally justifiable. Some of his most current projects include branding for the Science Museum in London and the University of Cambridge. He also works with non-profit clients like Cystic Fibrosis and the Disasters Emergency Committee, assisting and changing the way these organizations promote themselves. Goodman, Greenspan and Johnson all hoped that by publicly making this shift, profitable companies would invest some of their resources to have a positive impact on society instead of

Emily Oberman’s typographic work on Fantastic Beasts and Where to Find Them features “Fontastic Beasts,” which has spiny bristles that break out across the letterforms and a whimsical extended “S” hinting at the creatures in the film. Courtesy of Pentagram and Warner Bros. 24

focusing exclusively on the bottom line. Each semester at Merivale High, our design classes also participate in a community design problem. It is rewarding and inspiring for students to see folks at the top of their profession doing the same. ANOTHER PERSPECTIVE that several presenters addressed was how to engage clients in the new design economy— where consumers are bombarded with information. How does one make a concept stand out from the rest? Pum Lefebure, co-founder and chief creative officer of Washington, D.C.’s Design Army contends that today’s market necessitates creating an emotional response to a product or ser vice—and, like Facebook, consumers want an experience that they can share. She advocated an approach that flirts, romances and finally, in her words, seduces the consumer, much like the one used by the creators of MILK makeup, who have replaced traditional brushes with roller balls, sticks and pushpen dispensers, ideal for applying with your fingers much the same way one would swipe, push and press an iPhone. Lefebure showed how chocolate-bar sales improved m a r c h 2 0 1 8 • 85 Y E A R S

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2018 CONFERENCE Those on the West Coast can take advantage of the upcoming DESIGN THINKERS CONFERENCE in Vancouver, British Columbia, May 29–30, 2018 For information, visit www.designthinkers.com/Vancouver/ Register.aspx

Georgetown Opticians was rebranded to include an ongoing televised eye-care soap opera, using the same characters in posters and ads. Concept and Design:

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Example of Sharpie artwork by Timothy Goodman.

Merivale design student, Reid, had his copy of the book, Sharpie Art Workshop, signed by author Timothy Goodman.

Design Army. Photography: Dean Alexander.

exponentially during the 2016 U.S. election when rebranded with political stripes. She demonstrated how, in the hands of Design Army, a visit to Georgetown Opticians was rebranded to include an ongoing televised eye-care soap opera, using the same characters in posters and ads, and transforming the business to a premium fashion destination. ANYONE FAMILIAR WITH SATURDAY NIGHT LIVE’S opening credits will know Emily Oberman’s impressive work. Her presentation spoke to the power of networking in the design comwww.ar tsandactivities.com

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munity as her affiliation with SNL led to design engagements with Unbreakable Kimmy Schmidt, 30 Rock and Jimmy Fallon. Sarah Hyndman’s spirited presentation explored typography as a sensual experience. She has collected data to suggest that certain demographics and personalities are predisposed to reacting more favorably when faced with copy set in a specific typeface. Students and teachers should definitely explore her typetasting.com website to experience type in a ver y different way. Nicholas Blechman explained and illustrated the culture at the venerable New Yorker (with cartoons of course) and discussed the steps taken to keep a magazine that has celebrated its centennial relevant today. Blechman explained how all the traditional design elements were carefully revisited and updated without compromising the layout, color and integrity of the publication. What was relevant and valuable for students is how under Blechman’s direction, the magazine was reinvented to flow seamlessly on iPads, phone and other social-media platforms without losing the integrity and warmth of the print edition. IN THE CONFERENCE FINALE, Mimi Valdés, CEO of iamother. com provided an insightful look into her journalism see

DESIGN

on page 32 25

LEARNING OBJECTIVES Elementary students will … • explore the art of Vincent van Gogh. • use color, line, and texture to create a landscape.

NATIONAL ART STANDARDS

•

CREATING: Experimenting and developing skills in multiple art-making techniques and approaches. Demonstrating quality craftsmanship through care and use of materials, tools and equipment.

MATERIALS

• • • • •

11" x 16" heavyweight tagboard Black Sharpie markers Red, yellow and orange watercolor crayons Blue and brown watercolor paint Crayons, colored Sharpie markers

VOCABULARY

• Landscape • Horizon line • Concentric circle

• Visual texture • Color

Eden

ooking for a project that covers multiple areas of your art curriculum? This color-filled landscape project has it all! Like many art teachers, I try to squeeze as many student learning opportunities into my projects as possible, and this van Gogh piece provides everything from the study of a wellknown artist to explorations in texture, color, and a variety of media. I INTRODUCED MY STUDENTS to Vincent

van Gogh by reading Laurence Anholt’s Camille and the Sunflowers. My secondgrade artists immediately sympathized with van Gogh’s struggle to create art and to be accepted by others, and we enjoyed a lively discussion of his famous The Starry Night painting. They easily located the landscape’s foreground, middle ground, and background; we then continued with a special focus on the night sky. I asked if 26

anyone had ever dropped a pebble into the water and noticed the circles radiating from the center. I snuck in a bit of math as I explained how van Gogh’s sky is made of circles with a common center, or concentric circles. Soon my second grade artists were ready to try drawing their own concentric circles and adding flowing lines around their circles to show the blowing wind. I used a “directed draw” approach to help my students begin their landscapes, demonstrating each step as they drew along with me using their Sharpie markers. We measured “two sideways fingers up” from the bottom of the paper, drawing a wavy line for the water; three more fingers up for the ground, adding a little village and finishing with mountains behind their buildings. We left plenty of room at the top to add the starry sky. Next came

Meghan

the fun addition of visual texture—spiral ocean waves and a sandy beach dotted with “C” shells, fancy details on their village buildings, and interesting lines on the mountains. RESOURCES

• Reproduction of Vincent van Gogh’s painting, The Starry Night. • Book: Anholt, Laurence, Camille and the Sunflowers (Barron’s Educational Series; 1994).

Vincent van Gogh, The Starry Night, 1889. Oil on canvas.

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by Josey M. Brouwer

Keelan

Amelia

OUR FOCUS DURING THE NEXT CLASS

was on color as we reviewed warm and cool colors, and talked about the neutral tones on the mountains and beach. My students had opportunities to use many different media as they added color to their landscapes, including watercolors for the ocean and beach, neutral brown crayons for mountains, and colored permanent markers to complete their village. A new media, watercolor crayons, quickly became their favorite, especially when they blended the crayons with a bit of water to bring out vibrant colors in their starr y skies! As we wrapped up our van Gogh project, I challenged the children to list ever ything they learned while creating their landscapes. They did a “ripple review” by first writing down their thoughts, then sharing their ideas with their table groups, and finally www.ar tsandactivities.com

moving around the room to share with one other person. I listened in, happy to hear them using key words like texture, concentric circles, warm and cool colors, and landscape. This project really did cover it all—a famous artist, a little

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math with the use of concentric circles, landscape drawing, texture, new media ... and color! n Josey M. Brouwer, NBCT, is an ar t specialist at Georgetown Elementary School in Hudsonville, Michigan. 27

into black-and-white, you will see that the few patches of colors become a nice gray scale. When you select posterize, you need to select the number of shades. I’ve found what works best is to choose three, sometimes four, which results in nice black, white and grays for this project. Once you posterize and gray scale the picture, the next step is to print it, I print the pictures on our school’s copier, and I use the largest paper the machine allows. I enlarge the picture onto an 11" x 14" piece of copy paper, you will have to experiment with your school’s copier to get it just right.

used to do this project with acrylic paint and have mixed the different values, but I was looking for a way to simplify this project for my students. Then I discovered gray-tone pastels. A box of them contains a white and a black pastel, along with four shades of gray from light to dark—more than enough gray values for this project. To start this project you need to take a close-up digital photo of each student’s face. You then need to use a bit of Photoshop® on the digital images. The digital photo needs to be broken up into distinct value shapes. Photoshop can do this with the option called “posterize.” To get there in Photoshop, go to Image > Adjustments > Posterize. The posterize option reduces the many colors of an image to just a few, making the image resemble a paint-by-numbers picture. The large patches of color can have a dramatic graphic effect. When you convert the posterized color image

NOW YOU ARE READY TO TRANSFER

the photography onto a piece of light gray construction paper, which will be one of the grays needed for the value drawing. I use a 12" x 18" piece of construction paper (we will trim off the extra when the drawing is finished). To transfer the photograph onto the construction paper, you will need to turn the photograph

In Photoshop, click on Image, then Adjustments, and then Posterize.

Israel

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Alyssa Makayla

Self-Portraits by Hugh Petersen

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LEARNING OBJECTIVES

MATERIALS

• •

Middle-school students will … • explore the Photoshop image adjustment technique called “posterize.” • understand the element of design value. • learn how to work with chalk pastels. • draw a self-portrait using chalk pastels.

Digital camera Gray-tone chalk pastels and chalk pastels in a variety of colors

• Photoshop® • Photocopier • 12" x 18" light gray

construction paper

NATIONAL ART STANDARDS

• • •

> >

Corinne Emmille Oscar

Keep doing this until all the gray shapes are colored—lightest gray to the darkest gray. Generally the picture has only three or four grays in it. Black shapes are the last to be traced and colored. THE BACKGROUND, I wanted to keep it in the same value theme, but with a color. I have the students pick one color (monochromatic): a light, medium and dark shade and color the background from dark to light radiating out from their self-portraits. This project takes patience and craftsmanship working with messy chalk pastels, but it helps students gain a better understanding of the value scale. And, perhaps best of all: they amaze themselves that they can draw their self-portraits so well. n FOR

and completely cover the back with pencil lead, which will allow the photograph to be transferred. Students then tape their photograph onto the upper corner of their construction paper. The tape will be a hinge allowing them to lift the photograph on and off the construction paper several times. Then, with the photograph down, have them first trace around all their white shapes; ballpoint pens seem to work best for tracing shapes. The white shapes are colored in with white pastel, and the photograph is put back down over the drawing. Next, trace the next-lightest gray shapes. This next gray may be the color of the paper, which you would not have to color or it might be the lightest gray pastel in the box. www.ar tsandactivities.com

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Hugh Petersen recently retired after 35 years as an art teacher. This lesson is from his tenure at Phoenix Middle School in Delavan, Wisconsin. 29

LEARNING OBJECTIVES Elementary students will … • compare and contrast paintings of cityscapes by different artists. • create an abstract cityscape using lines and shapes. • experiment with color to incorporate a mood, time of day, or weather, into their picture. • explore value shading with colored pencils. • reflect on their piece and share it with their classmates.

NATIONAL ART STANDARDS

•

CREATING: Brainstorm multiple approaches to a creative art or design problem

MATERIALS

• • • •

9" x 12" white drawing paper Pencils, erasers, rulers Permanent markers Colored pencils

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by Sarah Hemendinger

very year, my fourth-grade students study the history of their state, Rhode Island, with their classroom teachers. These studies include an annual field trip to the state’s capital city of Providence. This opportunity for the children to explore the largest city in our state, was the perfect inspiration to study cityscapes in the art room! WE BEGAN OUR CITYSCAPE EXPLORATION with a look at

Philip Evergood’s painting, The Sunny Side of the Street, John Sloan’s, The City from Greenwich Village, and Picasso’s painting, Le Café a Royan. Students compared and contrasted the three paintings. We discussed the differences between realistic and abstract elements, and students brainstormed various approaches to creating their own cityscapes. We talked about ways they could include the use of shape and line in their pictures, and the use of color to represent both the mood, time of day, and weather. Together, we analyzed the cubist style in Picasso’s picture, how he arranged his shapes and how he value shaded the colors within them. The students collaborated on how they might incorporate these elements into their own cityscape. PENCIL IN HAND, I began to review with the students how

to use their rulers to create the lines and shapes to begin their “Abstract Cityscapes.” We recalled how incorporating foreground, middle ground, and background space, Liliana Sarah

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Mackenzie

Cameron

Preston

Ethan

would help to create depth in their sketches. The children were excited to incorporate into their pictures the tall buildings, bridges, and water ways they had seen on their trip to Providence. Once their pencil sketches were complete, students traced their lines with permanent marker and began thinking about the colors they wanted to use for their picture. We talked about how the use of different colors could affect the mood of their city. Yellow, pink, and orange, for example, would create a happy city as opposed to gray, brown, and black creating a darker, colder city.

began applying more pressure to darken the color. Finally, they pressed so hard, that they might break the pencil’s point. If they did, we just sharpened them again! The background was shaded last, with the children choosing what time of day and weather they wanted to create. The students enjoyed sharing their beautiful pictures with each other, reflecting on the choices they made and the parts they were most proud of. The children’s finished abstract cityscapes were amazing and they were a wonderful reminder of their capital city—Providence! n

VALUE SHADING with colored pencils was discussed as students began shading lightly with one pencil then slowly

Sarah Hemendinger teaches art at Hopkins Hill School in Coventry, Rhode Island.

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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.

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background and the groundbreaking work she did with Vibe and Latina magazines, which prepared her to move into multimedia, illustrating the diverse paths our graduates may take. It is important to relay that message as with emerging technologies, one’s professional life as an artist or designer is no longer confined to a single discipline. Our students will be routinely crossing platforms from two- to threedimensional work and beyond. The creative thinking skills we impart to them in our classes are vital to their development.

DESIGN continued from page 25

AS ART EDUCATORS, we invest much

of our time and effort in the classroom and it is difficult to keep pace with art and design trends in a world where

“This event was an eyeopener for me ... after all the presentations, I learned that to be successful, we not only need talent, but consistent hard work as well.” Student Ko-Chi Chen

change occurs so rapidly. The Design Thinkers Conference allows teachers a two-day window to experience the work of people at the cutting edge of their profession. It is a terrific way to bring some of these artists and their ideas into your classroom. Through my association with Design Thinkers, I have had a chance to shake hands with Erik Spiekermann, listen to the great David Carson and be inspired by the work of Aaron Draplin and Paula Scher. At the Conference, I also have a chance to network with teachers at the college and university level and I can see what I must include in my lessons to best prepare my students for post secondary success. n Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada.

m a r c h 2 0 1 8 • 85 Y E A R S

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Schools & Summer

WORKSHOPS

2018

Ideas on how to make the most of art programs this summer. When contacting those listed, tell them you saw them in Arts & Activities! (Information subject to change without notice.)

FOR TEACHERS

2018. www.arteducators.org/events/ summervision-dc

Arkansas The National Art Education Association (NAEA) has announced their School for Art Leaders at Crystal Bridges Museum of American Art (Bentonville). Utilizing experiential, action-learning modules and in-depth conversations with expert leaders, the program provides participants with learning experiences and skills to successfully lead in any environment. Begins June 13, 2018 with an orientation webinar. www.arteducators.org/events/schoolfor-art-leaders Florida Ringling College of Art + Design’s Summer Art programs offer traditional and digital art classes and workshops for adults. Information will be available mid-spring. Ringling College of Art + Design, Sarasota, Florida, www.ringling. edu/ContinuingStudies#TeacherInst

The National Gallery of Art invites educators to its Teacher Institute, a six-day seminar that helps K–12 teachers of all subjects integrate visual art with classroom teaching. The program features in-gallery art activities, modeling of teaching strategies, storytelling through webbased technologies, and other forms of experiential learning. The 2018 Teacher Institute will focus on storytelling and the visual arts. Session 1: July 9–14, 2018. Session 2: July 23–28, 2018. Applications are due March 30, 2018. www.nga.gov/education/teachers/ teacher-institute.html FOR YOUNG ARTISTS Jumpstart your future by attending Ringling College’s PreCollege 2018 program this summer. Are you up

for the challenge? PreCollege is immersive, rigorous, and fun. All students are enrolled in a full-time program of immersions in the majors as well as courses in art and design fundamentals. Expect to experiment, take risks, push yourself and make mistakes. You will strengthen your ability to think critically and creatively. June 24-July 21, 2018. www.ringling.edu/PreCollege This summer, build and develop your creative and artistic skills while exploring a specific medium or aspect of art and design. This intensive, four-week, precollege program is for individuals 15 and older who wish to study at one of the top art and design colleges in the country. Serious young artists seeking to strengthen and enhance their art and design skills, as well as students with limited art training, are invited to participate. Otis College of Art and Design, Los Angeles, www.otis. edu/summer-art n

Tennessee Weekend, one- and two-week workshops taught by national and international studio artists and university faculty. Work and learn in professionally equipped studios on a 14-acre residential campus. Teachers receive a discount on tuition. Arrowmont School of Arts and Crafts, Gatlinburg, Tennessee, www.arrowmont.org Washington D.C. Transform yourself personally and professionally within a museum setting in the National Art Education Association’s SummerVision DC program. Immerse yourself in the Museum Experience by spending four, art-filled days in Washington, D.C. exploring permanent collections, current exhibitions, and the museums themselves as works of art. July 17-20, www.ar tsandactivities.com

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shop talk

ROYAL & LANGNICKEL With a velvety texture, the Soft Pastels and Oil Pastels from Royal & Langnickel offer smooth and consistent coverage for a variety of art projects. Available as both small and large sizes, these pastels come in packs of 12 and 24. The Soft Pastels are available in the following color groupings: graytone, earthtone, landscape and portrait.

LIGHTFOOT LTD. Available from Lightfoot Ltd., The Essential Basics is a DVD for students or anyone interested in animation. Topics include “Foundational Philosophy for Animators,” the necessary equipment, gesture and figure drawing basics, the fundamentals of movement, the art of the 15- to 30-second gesture, how to “flip” a drawing, and more.

EGGNOTS Great for art, crafts, dyeing, displays and decor, gifts and Easter keepsakes, eggnots® are a realistic, ceramic, nonperishable egg alternative. Made of ceramic, and easy to dye and decorate, eggnots look and feel like real eggs, but are 100-percent safe for those with egg allergies and vegan-friendly. For artists looking for a new “canvas,” eggnots provide finished art with a much longer “shelf life” than real eggs. Available in packs of 6, 12 and 18.

www.royalbrush.com

www.lightfootltd.com

www.eggnots.com

Share Your Teaching Expertise and Success Arts & Activities magazine is seeking manuscripts with high-quality digital photos describing successful studio-art activities and other topics with practical application to K–12 art instruction. We are interested in painting, printmaking, drawing, color media, fiber/textile arts, ceramics, sculpture and projects appropriate for the beginning and the end of the school year. Visit our website at www.artsandactivities.com/submit/writers-guidelines

m a r c h 2 0 1 8 • 85 Y E A R S

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media reviews

BOOKS • DVDs • PRINTS • RESOURCES Jerome J. Hausman • Paula Guhin

THE ORIGINAL

KiSS-OFF Stain Remover ®

DRAWING FOR THE BEGINNING ARTIST: Practical Techniques for Mastering Light and Shadow in Graphite and Charcoal, by Gabriel Martin. Walter Foster Publishing, $19.95. Walter Foster is a name that’s been around forever, it seems, in the world of art instruction … much like Arts & Activities! Both have good reason for their longevity, in this reviewer’s opinion. As the title of this paperback indicates, it’s for the aspiring artist, as well as anyone teaching drawing—especially sketching landscapes, still life, and the human figure. Bonus: The publisher allows reproduction of pages for study! Visual art teachers will be reminded of projects they could assign to new learners. A case in point is the method of smudging charcoal to shade a drawing of eggs. Not every lesson is that simple, however. The techniques become slightly more advanced: those on atmosphere and low key are examples. The origami bird exercise with all its angles is as challenging as the randomly stacked arrangement of bricks. The author covers shading with wet media (inks and other washes) as well as three or four more dry media besides the two mentioned in the subtitle. He includes numerous dos and don’ts for basic techniques, increasing the book’s usefulness even more.–P.G.

ZEN DOODLE DREAMSCAPES: Unlock Your Dreams, by Carolyn Scrace. Barron’s Educational Series, Inc., $12.99. Let’s be clear: Despite its title, this vivid book isn’t a typical how-to on Zen doodling. Rather than filling page after page with patterns, author Scrace focuses on symbolism and Surrealism. Perhaps the closest she comes to average Zen doodles is with frame design and some background work. With five other books on the subject, the skilled Ms. Scrace has put together another beautifully illustrated work of art. She hits all the buttons with dreamcatchers and a two-page spread on journaling. Even unicorns and Yin-Yang appear without too much emphasis on mystical, magical aspects. A before/after demonstration on adding light and shade to increase depth is absolutely helpful. The three art techniques that are described are crayon etching, sponging and relief printing. Although the book is for anyone interested in dream meanings, the subconscious, and enlightenment, many pages are rich with colorful, finished artworks that will motivate any artistic teens and adults.–P.G.

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

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Kiss-Off Inc. • PO Box 5311 • Redwood City, CA 94063 www.KissOff.com AA0216

® The widest range of colorful dinnerware safe glazes. Available everywhere.

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85 Y E A R S •

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advertiser index ADVERTISERS Company Page

Company Page

AMACO/brent 7

L & L Kiln Mfg., Inc.

Arrowmont School of Arts/Crafts

Lightfoot/Cartoon Supplies

Paragon Industries, L.P.

Arts & Activities

9, 34

Aves Studio LLC

Royal & Langnickel

Bailey Ceramic Supply

Royalwood Ltd.

Blick Art Materials

Skutt Ceramic Products

Cress Mfg. Co.

General Pencil Co.

Spectrum Glazes, Inc.

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 .

MEDIA REVIEWS/SHOP TALK Company Page

Company Page

Barron’s Educational Series, Inc.

Royal & Langnickel

Walter Foster Publishing

Eggnots 34 Lightfoot Ltd.

RECYCLING

Fu n k y

College of Art in Toronto, I attended a lecture by ceramicist David Gilhooly NATIONAL ART STANDARDS and work. new artistic ideas (1943–2013), and developing a product of work. • CreatInG: Conceiving and sharing the artistic California funk ceramics • PresentInG: Interpreting movement of the 1960s. Gilhooly gave a spirited talk about ceramics and his “Frog

by Irv Osterer

•

student work.

MATERIAL World,” the ceramic universe he created. His work was

Black, fine-tip •outstanding—with FrogVictoria in her 100th Year paper as Queen markers • 9" x 12" drawing watercolor (1976), permanent among my favorites (www.sites.onlinemac.com/ • Heavy 9.5" x 12.5" 16-color watercolor sets •cchang/fmythhisjpg/FrogVictoria.j paper pg). trays, paintbrushes • Paint I have always remembered Gilhooly’s • Jumbo pencils, tape spirit and

contrast the natural Employing colors, stuand cool between warm family to use which color to use dents chose , and which for their chameleons s. for the backgroundsource coming from With the light their pastels children sorted above, the began coloring to dark and from light top of their value at the values the lightest ly darker reptiles. Progressiveworked their way as they the were added pastels from bodies. Oil be used for down the family could opposite color on the bodies details small emphasis of wished. if the students > Bryanna

SAVING ENDANGERED SPECIES WITH ART LEARNING OBJECTIVES Elementary, middle- and high school Miranda teachers and their students are invited to participate in the Saving Endangered Species High school students will ... >> Nathan Youth Art Contest, an integral part of the 10th annual national Endangered Species Day, Kirsten • becomeof more aware of endangered which will be celebrated May 15, the importance 2015. Started in 2006 by the U.S. Congress, focusing on frogs. paper. If Endangered Species Day is a celebration filling the species, nation’s wildlife and wild places. of the • Design are and create clay frogs, apply color The contest provides K–12 students drawings with an opportunitytheir learn about endangered species to with underglaze, glaze or paint. and express their knowledge and support through artwork. too small, it would Photographs courtesy of the Endangered Species Coalition. All rights reserved. Children who are home schooled and be more difficult to who participate in youth groups are NATIONAL ART STANDARDS also watercolor and stipeligible to submit their art. CREATING: We also Conceiving and developing • on. ple later Learn more at new artistic ideas and work. enlarging www.endangeredspeciesday.org discuss • PRESENTING: flower or Interpreting and sharing a single artistic work. in a having• several RESPONDING: Understanding and These evaluating composition. how the arts convey meaning. same CONNECTING: the • be Relating artistic ideas could and work with of personal meaning and type or a group external context. flowers.

these Watercolors make Quite an ImpressIon

abbey Mckenzie

joie de vivre, so when I was asked to teach a ceramics course at our school, I knew I had to do a frog project in homage to David Gilhooly. Aside from the Gilhooly connection, frogs are meaningful subjects for a number of other reasons, not the

Imagihis horses. done with on Marc had also be drawn by Sue Shields native patterns could unique illustrated to add creative, Jenkins and the chameleons , 2001). then outlined (Candlewick The children began sketching black, permanent Next, students white paper, as details. sketches with on about what create their began to think their chameleons how they could markers and explore. we talked about wanted to their pictures impact in colors they We began Blue Horses The Large emphasis and large, as Franz Franz Marc’s used cool colors by drawing the reptiles see how he (1911), to for the backand warm how artists for his horses then discussed drama, ground. We balance, to create work. use color beauty in their the book, contrast and to the class I then read by Martin are Cool, written Chameleons >

students explored y fifth-grade cool colof warm and s.” the world “Colorful Chameleon at ors by creating by looking the activity

by Sarah Hemending

different I suggest changa ing the angle ofMATERIALS • Sketchbooks, or to showcolored pencils, oil pastels flower • Whitestages— stoneware clay, kiln different Underglazes, • buds glaze, clay tools to fully from • Watercolor the and acrylic paint making • Brushes interest. We discuss opened—to create more could be and sizes. The stems the flowers different heights ENTRIES MUST BE POSTMARKED Go to artsandactivities.com and Students might overlap click on BYbent over or MarCH 1, wavy. 2015. this button straight, go off for resources and links related their flowers individuality. to this article. more depth, or have have to express their rest. of flowers to create the freedom they now12 imagination finish the students examine a variety will the paper, letting a viewer’s f e b r u a r y 2 0 1 5 • 82 y At the start of the project flowers centers, their e a r s of ❘ www.ar tsandactivi their compositions ties.com shapes of their petals, They consider whether a patsilk flowers, noting the the flowers. in a vase inside, a collage, We then practice drawing be in an outdoor setting, With a the stems and leaves. direction, and so on. or windblown in a specific drawings. (This was well-composed tern, of final their variety a start I DIsPLay think about, they 42 IN THe NeXT CLass, Because stu- lot to see IMPRESS on page talk about composition. flower pictures, and we I emphasize 35 a tendency to draw small, dents sometimes have Kemp’s ridley sea Turtle. Hailey Boiarsky, grade 4, Zaharis elementary school, Mesa, ariz. Ocelot. Brenna Litynski, grade 7, home-schooled, Maryland.

activit www.ar tsand

ies.com

pril 82 y e a r s • a

LEARNING OBJECTIVES

Lower-elementar

am a collector of odd items (hoarder, some say); I see potential art projects THe BIrD-HOUse in the most mundane POsT was made some say). So, when objects (trash, from one folded a friend told me of newspaper, which sheet about some birdhouse ideas she saw in was scrunched a craft magazine, into a tube-like and folded in shape I knew I could develop half. This double birdhouse project thickness helped a strength to for my students. the posts. add To kick things off, I asked students Beginning at the to rinse out and their milk cartons fold, students tightly save tape around from lunch (I also wrapped masking their posts, pulling collected some for the “unexpected”). and scrunching extras paper for For materials, my in the newsadditional strength. second- and thirdgraders would least of which is the fact that They wrapped the use these half-pint many species tape about half student milk cartons, way down work. newspaper, maskingare endangered. According to experts, so it resembled tape and foam board approximately a crude feather duster when finished. decorative birdhouses. 200 to create species of frogs have completely The biggest challenge disappeared since students had with Instead of using 1980. From their science studies, my students post-making was papier-mâché were well aware of applied. wrapping to cover Forthe cartons, I precut those wishing a matt finish onthe masking tape tight the fact that this decline in amphibian enough. their frogs, a 10" x populations 4.75" white could similardrawing selection of underglazes was also Students then pulled paper, which we lead to irreversible consequences available. and fanned out to the planet’s would wrap around ecosystems the A third the caroption, using watercolor and/or loose newspaper so tons, creating smooth, and to humans. diluted acrylic the bottoms of blank canvases. their paint, was also demonstrated. As posts would lay To do this, each long as the paint as closely as possible student completely remained to the thin and base. I told them opened was applied in many layers, the his or her carton’s BeFOre sTarTING WOrK, if it wiggled like wonderful texture the class first viewedtop, then a joystick, a length of the clay surface double-sided tape a Power-placed of remained uncompromised. it wouldn’t hold the milk Point presentation that profiled carton up correctly. many differentvertically the center They placed the students chose to glaze only the of one of the sides. kinds ofalong Some frogs, then spent time examining fanned-out newspaper eyes of their Oneand frog the shapes, colors edge and of the on finished white the rest with matt color, which their foam board, paper was then textures associated with the smallest securing their produced on the tree frogslaid tape,interesting visual to large bullpost to thean then wrapped around effect. frogs. Students made several drawings base with the in their The resulting frogs were a spectacular four strips of maskmilk carton (be sketchbooks, before getting their hands on the sure they fusion of ideas clay. inspired by nature and by David ing tape. We used a pinch techniquecrease the paper at the Gilhooly’s whimsical to create frog the frog forms from universe. It worked The students’ frogs had their own corners). white stoneware clay, hollowing special place—best out their Another before a for the masking pond, created for our art show. piece of sculptures they could be placed in the kiln. double■ tape to be placed stick tape is After the first bisque firing, students wereused right next to the shown a vari- Irv Osterer is Department to secure the loose base of ety of finishing techniques. For Head–Fine Arts and Technology, those who wanted a shiny Merivale at the post, pulling High School in Ottawa, Ontario, edge of the paper finish, the appropriate glazes Canada, the to carefully were chosen and andmaskan ing tape tightly Arts & Activities the milk carton. across the Contributing Editor. fanned-out newspaper After and students around to the bottom carefully refolded of the base. It should the tops of their look like a tic-tac-toe board milk cartons, when finI ished. If the masking secured them at tape is the not right next to the base of top edge with hot the post, it will act glue, using clothespins like a joystick, to hold them closed while the glue hardened.

NATIONAL ART yet another problematic STANDARDS area of the process. • CreatInG: Conceiving I then attached the and developing posts to the cartons dent volunteers with hot glue. Stu- • PresentInG: Interpreting and sharing new artistic ideas and work. helped by holding artistic work. the posts in the it set. Each student glue until was then given his or her milk which they held carton, upside down—to MATERIALS prevent any glue on them—until dripping it dried completely • Milk cartons Students then used • newspapers, foam board • White drawing paper acrylic paint to cover sure to paint a the posts, being or cardboard • Double-stick, masking bit of the fanned-out and portion at the base • Hot-glue gun and glue well. Watercolor duct tape as was used to paint • acrylic paint, watercolors, the paper-wrapped • Wool felts, towels, sponges tons. Short pieces carof drinking straws • Deckles/molds, drying brushes • Green paper scraps were hot-glued birdhouses to serve screens to the • Blender, dish tubs as perches, and • Clothespins black paper-punched circles glued above • straws, black circles became the entry “holes.” TO MaKe THe “Grass” to cover the

each student created a unique and personal sculpture.

students did several drawings 24 in their sketchbooks before getting their hands on the clay. www.ar tsandactivi ties.com

❘

ay 2015 • 8 2 years Our frogs were a fusion of ideas inspired by nature and ❘ www.ar tsandact by artist David Gilhooly’s work. ivities.co m

82 y e a r s •

februar y 2015

y students

• learn to see the art-making will… possibilities in everyday • be able to repurpose objects • learn and participate objects into finished pieces of artwork. • create a sculpture. in the papermaking process.

mix, and truly don’t fasOil and water in action technique are a versaOil pastels seeing this They enjoyed students! for children cinated the bead up on tile material watercolors offer brilliant watching the to use. They . easily, and chameleons enjoyed color, blend value- their thoroughly The children and proud allow for beautiful overand were pleased students impressed this project shading as They were by Holly Stanek their results. lap the colors. projects turned chame- of colorful the each Once their with how to compliment colored, started quick who neers were were lessons or find leons or out andthat teachers is to develop warm finished pieces. withthat a movement think a challenge for other on their A lesson primarily of warm and all of our students. students their the world pastels, that are successful for experias well showcased Exploring students their styles and is a great way to your most giftedcool paint unique to colors gives room to challenge families, success. cool to have the painting. I contrasting color for all ability levelsprepared s with ways of as create an opportunity curricument with background and watercolors a staple in my third-grade wet their that all of oil pastels conThis project has been In the realized results.They the group. color in and using principle of with felt satisfied opposite sponges the design n my simplification and ES lum, and I have always would students my water with with reinforces OBJECTIV the projectpapers thinking materials. creatprojectswas actually LEARNING their past, I approached options. trast, through with fewer will…if I kept it to complete tech- atmosphere simple, order students an successful watercolor entary art at be more would ingthe which on wet” and cool colors Upper-elem er teaches to think “wet about, on of warmthis them lessthe gaveand in and to be theI use figured, the wet paint that was hindering School ideas Sarah Hemending • explore artwork explore their Applying to create contrast to explore Elementary abilities to nique. in their lead to better results. of their my students’ Hopkins Hill andIsland. because them approach. of paints with paper allowed the their style wet subject were always balance. Sunflowers the resist properties draw. The unique Coventry, Rhode the to watercolor with them easy blending • experimentsimple pastels. and students find I and oilshapes, and cool GOGH in the intro, values in a new way. watercolors in the background MONeT aND VaN and dark was warm colorstogether medium, WHILe I sTILL Use scheme and fearless color Less to think about, • create light, two artists’ unique styles foreground,ofor vice versa. now emphasize the know there colors in the using oil pastels. with the artwork I make sure students right? themselves approaches to their work. what I am about • familiarizeeasier, and more successful, the Impressionist paintmind that they can handle Franz Marc. Then I started to think about are is no doubt in my excited about who quite Monet, always Gogh and Claude them with. They are Vincent van DS ers such asSTANDAR were pio- to challenge to this project. They ART com ndactivities. featured in the introduction NATIONAL x www.ar tsa 2 years media, april 2015 • 8 Mackenzie

Taylor Macie

renaissance

by Tammie Clark

Frog World

LEARNING OBJECTIVES will ... van Gogh. elementary students Claude Monet and Vincent drawn. • learn about Impressionism, shapes in the objects being • learn to see the simple to shade • understand good composition. any yearsusing and how ago, • be introduced to pointillism/stippling while a student this method. at color techniques and thethemes. Ontario learn about watercolor

Sharing successful creative ideas ...

www.ar tsa ndacti

vities.com

Birdhouses prior to painting.

bases, we cleaned out my scrapThe pulp was paper box of all the green, and made poured into a tub paper. My students were amazed of water and at the process. The a green paper deckle was torn into small and mold bits, soaked were both dipped in water and made into a pulp in underneath the a blender (about two thirds water water’s to one-third paper surface bits).What a and then pulled fun (and wet) way to recycle! straight up, letting the pulp settle on the deckle/mold water drained. as the The deckle and mold were flipped upside of wool felt (I found down onto a piece an old army blanket and cut was used to remove more water and compress it up). A sponge The deckle was the fibers. removed and then the mold. The were then stacked felts on top of one another, wrapped in a towel and compressed even further to remove more water (I stand on the towel). The paper was then removed from the and placed on screens felts to dry flat. (I acquired screens from a thrift old window store for this purpose.) I hung the felts from a clothes-drying them when dry. rack and reused I made my own deckles and molds foam meat trays from by simply cutting a rectangle from ter of two trays the cenand duct-taping plastic screening tom of one tray to the botfor the deckle (also acquired from the store screens). thrift The mold dictates the shape of the this case, a rectangle. paper, in Both trays are upside mold being placed down, with the on top of the deckle. In my test-run, I tried white glue and craft glue but, end, hot glue worked in the best to adhere the “grass” to the bases. The end products were whimsical, students were so fun, proud of their birdhouses. and the other students in From the the school, we heard, “How come we didn’t get to make those?” I think this recycling effort is worth a repeat! ■ Tammie Clark (NBCT) is an art teacher at Somerville Road and Decatur Elementary Schools in Decatur, Alabama. ❘ 82 years • may 2 015

2015

and applying Understanding 34and processes. the techniques upon and assessingtheir work of • Reflecting and merits characteristics others. of arts and the work between visual connections • Making disciplines. and other

•

MATERIAL

• • •

The Large of Franz Marc’s, Reproduction (1911) Blue Horses x 18" paper pastels, White 12" markers, oil Pencils, permanent

• •

Makayla

s 1 year 14 • 8 june 20

www.ar

tsanda

ctiviti

es.com

watercolors water Sponges, brushes, Visuals of chameleons

www.ar

tsanda

ctiviti

es.com

Morgan

rs 81 y e a

•

14 june 20

www.artsandactivities.com 36

m a r c h 2 0 1 8 • 85 Y E A R S

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Leonard Leslie Brooke (British; 1862–1940). Three Little Pigs: The wolf blows down the house of straw, 1904. Chromolithograph; 8.25" x 6.5". Art and Picture Collection, The New York

STUDY PRINT

“What would life be if we had no courage to attempt anything?” — Vincent van Gogh

hat would life be if we had no courage to attempt anything? Well, we have a lot to look forward to and a lot to attempt this month. March brings to us Women in History Month, Youth Art Month, and Music in Our Schools Month. Wow! That’s a lot to take in. This is a great time to celebrate all the famous women in art and women artists. For Youth Art Month, hang artist’s quotes and their portraits around your school. This is also a great time to educate the students and parents on the importance of art education. Compile a list of careers that art education can lead to and have discussions or even debates with your students. March is a great time to collaborate

your paper with a cotton ball or a wash paintbrush, then add your colored pencils. This will produce a smooth, rich look to your drawing.

tip #2

WATERCOLOR MADE EASY. Have your

students use a limited palette, especially if they are using watercolors for the first time. Make sure they do a light sketch first on their paper, as planning for whites and highlights are essential, particularly if they want to draw something realistic. I have my students start with an abstract piece until they are comfortable with different techniques of watercolor.

tip #3

COLOR APPLICATION. There are many

ways to apply color and depending on the area you want to cover can depend

Glenda L

ubiner

son was one using pen and ink. The students learned about hatching, crosshatching, and stippling, then they created their wild thing. When it was completed, they were instructed to use a watercolor wash to add color.

The Courage to Try with your music teacher to have a night of the arts and be sure to invite your community leaders. This month our focus is on drawing, color media and projects inspired by books, literature, music, and dance.

tip #1

BABY, BABY, BABY OIL? Try using baby oil to soften the look of a colored pencil drawing. The key, however, is not to use too much oil. There are two ways of using baby oil in your drawings. First, draw as you normally would. The next step is to dip a cotton swab in some baby oil, blot it on a paper, then smooth over the colors in your drawing. It will give your drawing a smoother look, almost like using watercolor pencils. An alternate way to do this is to start by applying a light layer of baby oil on

ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com

on the medium you use. If you have a large area to cover, have your students use broad tipped markers to lay down color. The broad tips make it go faster and smoother. Once completed the students can add colored pencils for detail, highlights and shadows. If students are working on a largesize drawing, they can start with a watercolor wash and add colored pencils, markers, or pastels to add details. Another color medium my students love to use are water-soluble oil pastels. We have done everything with them, from watercolor monoprints to Georgia O’Keeffe–inspired watercolor flowers.

tip #4

BOOKS A MILLION. I have used many books to inspire art projects in both my elementary and middle-school classrooms. One of my favorite books for all ages, is Where the Wild Things Are, by Maurice Sendak. The primary grades made their own wild things in a two-dimensional format using paper cutouts, paint, oil pastel, or crayons. The upper grades also make their own wild thing as well, but their les-

Any Eric Carle book is a great start for an art project as well. Students can paint multiple sheets of paper (older kids can use tissue paper) to create their pictures. Giraffes Can’t Dance, by Giles Andreae and Guy Parker-Rees, is a great story to discuss character traits. Students can make Gerald dancing in drawings, paintings, or even puppets. The Cave Painter of Lascaux, by Roberta Angeletti, is a great book to start introducing art history. One project I like to do is watercolor cave paintings on paper clay. The kids love it and they are always successful. Oh, and don’t forget to play music in your room! HAPPY BIRTHDAY to Oskar Kokoschka (March 1, 1886), Piet Mondrian (March 7, 1872), Rosa Bonheur (March 16, 1822), John Frederick Kensett (March 22, 1816), Francisco Goya (March 30, 1746) and Vincent van Gogh (March 30, 1853). 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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