Arts & Activities Magazine April 2016 by Arts & Activities

PASSION

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CONTENTS APRIL 2016

VOLUME 159, N o. 3

BREAK OUT THE BRUSHES, IT’S TIME TO PAINT 14 THE JAPANESE FOOTBRIDGE: KINDERGARTNERS MEET MONET

16 23 24 26 28

Chrissy Leishear DOUBLE SELF-PORTRAITS IN THE STYLE OF CHUCK CLOSE Melissa Speelman THE ARTFUL GERM Karen Skophammer HOMAGE TO VAN GOGH AND HUNDERTWASSER Marcia Beckett THINGS I REALLY LIKE: A MONOCHROMATIC INVENTORY Irv Osterer A FAMILIAR FACE: EXERCISE FOR FIRST-TIME WATERCOLORISTS Steve Lappe

YEARLONG HIGH SCHOOL CURRICULUM SERIES 12 BUILDING A STRONG FOUNDATION: ACRYLIC FRUIT STUDIES Debi West

9 10 11 30

SPECIAL FEATURES AND COLUMNS

STEPPING STONES ... SETTING UP YOUR ART SHOW Heidi O’Hanley ART IS AT THE CORE: GUSTAV KLIMT Amanda Koonlaba YOUNG ARTIST: ASHLEY DODDER Kim Yonker CLAY TIPS FROM THE GAMBLE STUDIO, SURFACE DECORATION: CARVING Tracy P. Gamble 38 TRIED & TRUE TIPS FOR ART TEACHERS: BREAK OUT THE BRUSHES Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT FEATURE, WOMEN ARTISTS: PAULA MODERSOHN-BECKER Colleen Carroll 37 ARTS & ACTIVITIES STUDY PRINT: Bridge over a pond of water lilies Claude Monet

A&A AT YOUR SERVICE 30 CLAY CORNER 34 WEB CONNECT 36 AD INDEX

DEPARTMENTS 4 EDITOR’S NOTE 32 MEDIA REVIEWS 33 SHOP TALK ON THE COVER

BIRDS Watercolor, 18" x 12". By Ashley Dodder, grade 8, Jenkins Middle School, Colorado Springs, Colorado. See “Young Artist: Ashley Dodder,” page 11. SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. AD SALES: (800) 826-2216; ads@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128. Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 12345 World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign subscriptions, add $35 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery to his or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodical postage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark. POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.

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26 3

e d i t o r ’s n o t e

Break out the brushes, it’s time to paint! Whether

president

Thomas von Rosen

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

you teach kindergarten, elementary, middle- or high school, we’ve got you

covered with painting projects and lesson plans, sure to be a hit.

E D I T O R I A L A D V I S O RY B O AR D

For the wee ones there’s “The Japanese Footbridge:

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

Kindergartners Meet Monet” (page 14). “Although I enjoy introducing new projects ... this lesson is a classic that I revisit each year ... ,” writes author Chrissy Leishear. She shares how her kinders learn about the artist and Impressionism, then create a painting of an arching footbridge and lily garden using a variety of media, tools, and processes. (Turn to page 37 for

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

Jerome J. Hausman Lecturer, Consultant and Visiting Professor, at The School of the Art Institute of Chicago Barbara Herberholz Art Education Consultant, Sacramento, California Mark M. Johnson Director, Montgomery Museum of Fine Arts, Montgomery, Alabama George Székely Senior Professor of Art Education, University of Kentucky, Lexington

a bonus: this month’s Study Print is Monet’s “Bridge Over a Pond of Water Lilies.” It’s the perfect size to cut out, laminate and provide to students as a reference for this charming project.)

In “Homage to Van Gogh and Hundertwasser” lower-elementary kids learn that artists sometimes create art that honors someone or something: an “homage.” But that’s not all this lesson offers.

C O N T R I B U T I N G E D I T O RS Colleen Carroll Curriculum Writer and Author of Children’s Art-Appreciation Books, Sleepy Hollow, N.Y. Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont

“I wanted my first-grade students to … understand that each artist has

Amanda Koonlaba Art Teacher and Arts Integration Resource, Lawhon Elementary School, Tupelo, Mississippi

his or her own style,” writes author Marcia Beckett. “I intended for the

Glenda Lubiner Middle-School Art Teacher, Franklin Academy Charter School, Pembroke Pines, Florida

students to know that they should feel free to use and develop their own they were able to try out several new ways to paint and had a lot of free-

Don Masse Heidi O’Hanley

dom to explore.” Sounds great to us! Check it all out starting on page 24.

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

artistic voice as well.” Her students were “very engaged in this unit because

“Double Self-Portraits in the Style of Chuck Close” (page 16) has students exploring the artist’s life and work, and applying one of his trademarks to large-scale self-portraits. We think you’ll agree: Each work by Melissa Speelman’s middle-school artists is as unique as the young artists’ fingerprints!

See how high-schoolers interact with the medium and experiment with techniques in Steve Lappe’s “A Familiar Face: Exercise for First-Time Watercolorists,” on page 28. “The thrill of taking

Art Teacher, Zamorano Fine Arts Academy, San Diego, California Art Teacher, Brodnicki Elementary School Justice, Illinois

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

A D V ER T I S I N G D E P AR T M E N T

a d v e r t i s i n g m a n a g e r Tracy Brdicko

tracy @ artsandactivities.com 800.826.2216 or 888.651.7567 p r o d u c t i o n d i r e c t o r Linda Peterson p r o d u c t i o n m a n a g e r Kevin Lewis production @ artsandactivities.com H O W T O REA C H AR T S & A C T I V I T I ES Subscription Services To subscribe, renew, change an address or buy single copies,

an image of yourself—or someone you admire—and changing it into a

visit artsandactivities.com, contact subs@artsandactivities.com or call (866) 278-7678.

work of art is exciting and motivating,” he writes. “This watercolor project

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

teaches students a new way to create using color and shape, and another way for them to become artists.” What more needs to be said? It’s time to break out the brushes ... it’s time to paint!

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

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

permission is prohibited. Contact the Editor at the address shown below or the email address to the left or contact Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923, (978) 750-8400, copyright.com.

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

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Stepping Stones

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.

SETTING UP YOUR ART SHOW

by heidi o'hanley

ne of the many responsibilities we have as the art teacher is promoting student work with the community. Even though the task can be challenging, once the artwork is up and the attendees come to view the work, we’re filled with overwhelming pride and joy in our students’ creative talents.

Why have an art show? An art show is a great way to share the amazing works created by your students. No matter what grade level you teach, parents and community members will flock to see your students’ creations. One of our national visual arts standards is “presenting,” which focuses on analyzing, interpreting, and selecting artistic works for presentation. Within the anchor standards, we should work with students in identifying and explaining the purpose of a portfolio or collection of work, as well as how exhibiting art inside and outside of school can benefit the community.

When is the best time for a show? The timing of

your show depends on your schedule. Many schools offer art shows in the springtime to share the student artworks collected over the recent school year. The elementary schools in my district hosts an art show in the late spring to showcase the winners of our annual art contest for third through 6th graders. Some schools choose to work with themed shows, like a multicultural fair or holiday extravaganza. A few years back, my previous school held a multicultural fair for all teachers and students to participate in. Around the perimeter of the fair, I displayed students artworks inspired by different cultures for attendees to view. You can also host an art show in the fall! In our district, the Jr. High hosts a galler y night in the mid-fall to showcase student work current and past, as well as promote the artworks of the staff and local high school.

Who should I recruit to help? The students and their parents would be the best people to contact first. If you have a school newsletter or a website, I would recommend creating a “call for assistance” to help in setting up the show and prepping the projects. You can also try to ask the student council, art club, and even administration! In some schools, teachers are even required by contract to stay for one event of their choosing during the school year. You may even wish to ask teachers in your school (if you have that option) for their assistance to fulfill their requirements. www.ar tsandactivities.com

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What should I prepare for the show? Depending on the theme of your show, you can hang anything your students have created! For two-dimensional pieces, try framing them with either paper or matt board. Use dots of glue, spray adhesive or tape to attach the frames. Most of my students’ 2-D projects are always framed with colored paper once completed. A frame helps make the artwork more presentable and gives you less work to prepare before a show. Once the artwork is prepped, think about how you plan to share information about the projects. You could print out a description to matt, or you can create and print out a QR code that leads to the website connected to the artwork. For example, if your students’ work was inspired by the artist Keith Haring, consider linking the QR code to the Keith Haring website for parents and attendees to view a biography about the artist. You can do this for any artist, time period, or cultural reference. Are you planning on adding student names to the artwork? Consider printing labels with students’ names and dates to place on the frame.

How should I advertise? If your district has a website, newsletter or any social-media outlet, make sure to send them a press release statement about the show! I would even utilize Artsonia’s digital newsletter to help remind parents and family members about the upcoming show. You can also create invitations to go home with students.

I don’t have time for an art show. What else can I do to promote my students’ work? If you

do not have the time to set up your own art show but still want to host, there’s a fundraising company called “Artomé” (artome.com) that offers assistance in hosting art shows. They provide the paper for each student, professionally frame the original artwork for each student, and their team delivers and arranges the gallery with their displays. The parents can choose to purchase the frame for their children’s artwork at the show. Artomé also disassemble the gallery, un-frame and return any remaining artwork. All you need to do is coordinate when the show will be set up and then advertise! If you’re planning your art show for the spring, the best of luck to you and your students! Once the artworks are set up, enjoy the show with your young artists. n Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT) teaches elementary art for Indian Springs School District #109, in the Greater Chicago Area. Visit her blog at www. talesfromthetravellingartteacher.blogspot.com. 9

ART is at the

Art is at the Core offers tips on integrating for visual art teachers and teachers of other subjects. Arts-integrated lessons offer students the opportunity to meet objectives in art disciplines and other subjects. Arts integration strengthens traditional core classes, but does not replace art-specific courses.

GUSTAV KLIMT

by AMANDA KOONLABA Gustav Klimt (1862–1918) was born in Vienna to a lower middle class family. His works have brought some of the highest prices ever for individual works of art. His art is often distinguishable by his use of gold and patterns of swirls. Below are ideas for integrating Klimt’s “Tree of Life” with other subjects.

Symmetry Students can fold a sheet of black paper in half vertically and draw half of a tree on one side. They can trace over their half-tree with glue and fold their paper back on the previously created fold so that the glue from one side sticks to the other. When the paper is unfolded a symmetrical tree will appear in glue. When the glue dries, the students will have lines with which to guide their placement of color and details. Extend the concept by asking students to use asymmetrical placement of their details. For instance, they could glue five buttons on one side and four on the other. They could even add flowers cut of paper scraps to the ground beneath the tree to show radial symmetry.

Estimation Station Use the same trees from the

symmetry lesson or have the students create trees using the same technique just for this center activity. Hang the trees in a central location, perhaps the hallway. Students can view the trees and estimate the lengths of branches. They can write their estimations in inches and centimeters on sticky notes and place on the branches that they choose. Each student could be responsible for estimating five branches. By the time all of the students rotate to the center, all of the branches will have an estimate on them. Then, have students retrieve their artwork and determine the actual measurements using a ruler. Students can record the estimations and actual measurements by creating graphs. The graphs can be used for an assortment of activities from data analysis to writing prompts.

Patterns Students can use their speaking/listening skills to share what they see in and think about a work of art. Viewing artworks is the prime time to teach visual-art vocabulary. Ask the students to “Think, Pair, Share” their background knowledge on patterns. Then, give them the definition of patterns and let them discuss how it relates to visual art. Have the students identify the patterns Go to artsandactivities.com and click on this button for resources and links related to this article.

they see in Klimt’s work. Use questioning to get the students to think about how artists use visual patterns and writers use language patterns. Have the students write a poem that follows a pattern such as a limerick or a sonnet. Finally, have the students use video-creation apps and tablets to create a video with images to accompany their poetry. They can voice-over their own reading of the poem, or add music and type the text into the video. These can be uploaded to YouTube for sharing across classrooms. Also, remember that you can actually use the Think, Pair, Share strategy with this work of art to lead into any lesson on patterns.

Gustav Klimt (Austrian; 1862– 1918). The Tree of Life, 1909. Oil on canvas; 77" x 40". Museum of Applied Arts, Vienna, Austria. Public domain.

Nature Studies After studying Klimt’s work and creating their own trees of life, students can learn about what is needed for trees and plants to sustain life. This could lead to a writing prompt about conservation. For instance, the students could write pieces beginning with “If these trees could talk.” Students could even label their artwork with the parts of a tree.

Compare and Contrast Trees of Life Klimt’s Tree of Life is as ubiquitous as it is ornate. Yet, many different cultures have depicted trees of life in varying forms throughout human history. Students will likely have seen Klimt’s tree before, though they may not have studied it. They probably have not ever seen a Navajo rug depiction of a tree of life or a Mexican folk art pottery rendering. Share several different images of trees of life from around the world. Have students choose two and carry out the writing process for a compare/contrast piece. n

Arts & Activities Contributing Editor Amanda Koonlaba, NBCT, teaches at Lawhon Elementary in Tupelo, Miss. Before teaching art, she was a classroom teacher, and used arts integration as the cornerstone for instruction. Visit her blog at www.tinyurl.com/aekoonlaba

The activities described in “Art is at the Core” may encompass Common Core State Standards for Math, the English Language Arts Anchor Standards of Writing, Speaking and Listening, and the Next Generation Science Standards Performance Based Expectations of Science and Engineering Practices for Analyzing and Interpreting Data. They also encompass the National Arts Standards processes of Creating and Responding. Please refer to particular grade-level standards for specifics.—A.K. 10

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o me, art isn’t just a spectrum of shapes, colors and lines, it’s what makes life colorful and interesting. I have always turned to art as my outlet—I plug in and let my imagination run, whether with pencil, paintbrush or charcoal stick. For the past few years, my art teacher has broadened my horizons, and helped me tap into my inner artist and show my full potential. She says that you can always learn more, which helps you go beyond your potential.

Ashley Dodder, grade 8 Jenkins Middle School Colorado Springs, Colorado Kim Yonker, Art Teacher

Birds. Watercolor; 18" x 12". Grade 7. Floral theme. Intaglio print over watercolor; 4.5" x 3". Grade 7.

Ceramic vase. Underglaze and transparent glaze; 5" x 6". Grade 7.

Portrait. Acrylic paint on canvas; 12" x 12". Grade 8.

Cowboy Boot. Ceramic vessel. Black underglaze with Rub-N-Buff finish; 7" x 5" x 2". Grade 8.

Jaguar Eyes. B&W value study. Ebony pencil; 4.5" x 12". Grade 8.

Cowboy Boot Still Life. Watercolor; 16" x 22". Grade 8. www.ar tsandactivities.com

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Mola Creature Design. Fiber art: Felt collage with stitchery; 8" x 8". Grade 6. 11

Yearlong High School Curriculum Series | BUILDING A STRONG FOUNDATION

Lesson 8 of 10

Acrylic Fruit Studies by Debi West

o draw what you see can be difficult. It takes time to learn to “see” and it takes time, and a lot of practice, to develop the necessary drawing skills needed to showcase this learned task. I explain this to my students from the first day they enter my art room. To see how contour lines close to create a measured and exact shape … to see how you fill that shape in with color harmonies and values that create textures and then put it all together within a space, this is what the art of drawing is all about, it’s about the art of seeing! It’s quite wonderful when you break it down and consider how important each of these steps is in helping students become better drawers.

When I introduce my students to their first acrylic painting lesson, I reiterate all that they have learned thus far in the semester, and remind them how important it is to draw what you see … not what you think! And, the same applies to painting. I love this lesson because my students are always so excited to begin painting and it’s the perfect time in that I have set them up to succeed via the previous lessons. To begin, each table receives a few pieces of plastic fruit. I use apples, pears, pomegranate, lemons, limes, oranges and bananas. Of course, if students want to bring in their own piece of fruit, that’s OK, too. I have pre-cut 6" x 6" white poster

board for them to use and each student is given one square. I have them use a pencil and draw what they see in front of them–exactly what they see. In doing this, they are looking closely at the contour lines and shapes that make up the fruit, as well as the shadows that fall around the fruit. I then give each table a primary color palette with a squirt of white. The students all have their own brushes and for the first of this three-part series, I don’t give them water. Water dilutes the paint and becomes more like a watercolor, so I want them to experiment with the full consistency of acrylic paint for their first try. They then turn their square fruit

Students receive a primary color palette with a squirt of white—but no water—for the first of this three-part series.

As they paint their fruit for the second time—with water—they consider the two different techniques and do a compare and contrast.

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Lesson 8 of 10

INTRO TO ART CURRICULUM SERIES

Acrylic Fruit Studies Learning Objectives

Materials

High-school “Art 1” students will ... • learn different painting techniques using acrylic paint, from dry brush, to water, to impasto painting, using the same subject matter study. • learn to mix secondary colors from primary colors. • learn to mix tints and shades. • mount these onto a board to create a painted study series.

• • • • • •

6" x 6" white cardboard Acrylic paint (blue, yellow, red, white) Paintbrushes, water cups Spackle Glue Black poster board (cut to size)

Procedures 1. Introduce the lesson by discussing the importance of looking closely at a subject matter. 2. Students will learn to paint a piece of fruit, by looking at it closely and mixing their primary acrylic to create their palette. 3. Students will begin this with a dry brush technique, using nothing but paint, brush and their “seeing” skills. 4. Students will begin their second painting by adding water to see how that changes the texture of the paint.

5. Students will begin their final study by adding spackle to their board and to their paint, creating an impasto artwork. 6. Students will glue each piece onto a large mat board, creating a painted fruit study. 7. Final artworks will be hung in a class display and critiqued. This lesson is wonderful in that students are very proud of what they created using only the primary colors and using their under-painting skills to create beautiful, quick-painted fruit studies.

Assessment We do in-process critiques using my “2 Glows and a Grow” model: Each student selects a classmate’s work that speaks to him/her and attaches three notes—two with what works, and one with what the artist might want to consider or change. There is also an evaluation form that prompts students to appropriately reflect on the learning at hand and provides space for them to comment on the process and how they feel their final piece turned out. There is also space for me to comment and give them a grade based on their learning and the final work. For this particular lesson, I also have my students write a compare and contrast based on the textures, techniques, and elements. For the third, students consider texture in their work as they experiment with impasto painting.

drawings over and begin to draw with their brushes, creating an underpainting as they paint the shapes they see and then mix the colors they see to mimic the fruit in front of them. This takes quite a bit of time as they “play” with the blues, yellows and reds and add touches of white to create tints. It’s always amazing to me to see how successful they are with this first attempt, and once their first fruit study

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is complete, they begin their second, this time with water. As they are painting their same piece of fruit for the second time, I have them consider these two different techniques and do a compare and contrast. Finally, for their third painting, I introduce them to spackle and have them experiment with making impasto paintings, which forces them to consider texture in their work.

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Often, students ask for more squares to continue the experimenting and “playing” and then they select their top three and adhere these to black poster board, creating a triptych fruit study. This is another highly successful lesson and one that builds their confidence and prepares them for the next art challenge! Next up…Weekly Visual Journals. n Debi West, Ed.S, NBCT, is Art Department Chair at North Gwinnett High School in Suwanee, Georgia. She is also an Arts & Activities Contributing Editor. 13

The Japanese

Footbridge:

Kindergar tners Meet Monet by Chrissy Leishear Adam Nathan

> >

here are many fun ways to introduce children to the wonderful world of art. Using picture books is one of my favorite teaching tools to supplement my lessons and to build upon the students’ natural love of art and reading. Although I enjoy introducing new projects in the art room often, this lesson is a classic that I revisit each year with kindergarten. In this lesson, we explore one of the world’s greatest artists: French Impressionist painter, Claude Monet. First, we read The Magical Garden of Claude Monet, by Laurence Anholt (Barron’s Educational Series; 2007). This book is an ideal way to introduce the painter to a young audience. A girl named Julie embarks on a journey with her mother and she befriends a gardener who turns

out to be the great artist, Claude Monet. Monet’s work graces several of the pages, and is overlaid with Anholt’s charming illustrations of the characters. My students were captivated by the story, especially the large foldout spread of the lily pond where we were practically pulled into the painting of the pond, lilies and willow trees. Monet painted a series of the same subject again and

again to capture the changing effects of the light, and each one is different. We examined the paintings in his bridge series and compared them. The students learned that Impressionist painters used thick, chunky strokes in their work, which we observed in all Monet’s paintings. We noticed differences in the angles, light, and colors, april 2016 • 83 years

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LEARNING OBJECTIVES Kindergartners will … • learn about the artist Claude Monet and Impressionism. • create a painting of an arching footbridge and lily garden using a variety of media, tools, and processes. • explore combinations of colors. • paint with short, controlled brushstrokes.

NATIONAL ART STANDARDS

• • •

Creating: Conceiving and developing artistic ideas and work. Presenting: Interpreting and sharing artistic work. Connecting: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• • •

9" x 12" drawing paper Oil pastels Tempera cakes

• Paintbrushes • Visuals of Monet’s

bridge paintings

Joseph Annie

especially in his later work. Monet spent the last 10 years of his life painting scenes of his water garden, even after developing cataracts and losing much of his vision. He continued to paint the bridge and lily pond, though his work lacked a variety of color and was primarily red and maroon. As we began the project, I demonstrated each step to

the class from my easel at the front of the room and the students followed along at their seat. We started with a pencil and drew an arching line from one side of the paper to the other, much like a rainbow. We added two more lines below and several vertical lines across the bridge, connecting the top to the bottom. This formed the structure of our bridge. Next, we used oil pastels in two shades of blue to trace over our bridges, pressing hard so the colors were bold. The students used various shades of green pastels to draw lily pads (“like the shape of Pac-Man”), willow trees, and other aquatic plants. They used the colors of their choice to draw water lilies in the pond. Then, we used Claude Monet (French; 1840–1926). Bridge blue, green, pink over a Pond of Water Lilies, 1899. Oil on and purple temcanvas; 36.5" x 29". The Metropolitan Museum of Art, New York. H. O. Havepera to dabble meyer Collection, Bequest of Mrs. H. O. short, spontaneHavemeyer, 1929. Public domain. ous brushstrokes www.ar tsandactivities.com

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across the bottom half of the paper. I encouraged overlapping the colors to fill up the white space and boy were they excited to discover the new colors that appeared as they mixed together! It was an equally magical moment when the oil pastels appear through their paint strokes to showcase their bridge and lilies. Finally, we painted above and in between the bridge

railings in the same way with yellow and green. I told the students to think of their brushstrokes as quick footprints traveling across their paper. The kindergarten class took pride in their finished masterpieces, and will hopefully visit the local National Galler y of Art in Washington, D.C., one day to see one of Monet’s Japanese Footbridge paintings in person. We can learn a lot and be inspired, not only from Monet’s finished products, but from his process as well. He studied his subjects, planned his paintings, and worked hard to achieve results. This is what I strive to teach my classes to do and just as each of Monet’s paintings is unique and different, so are the artists I’m teaching. n Chrissy Leishear teaches K–8 Art at St. John the Baptist School in Silver Spring, Maryland. 15

LEARNING OBJECTIVES Middle-school students will … • explore the life and work of Chuck Close. • apply the techniques of Chuck Close to a large-scale self-portrait. • create a self-portrait and apply correct proportions and accurate anatomy. • create values using fingerprints and apply shading to a self-portrait. • create a gridded composition by applying accurate measurement. • experiment with color mixing.

NATIONAL ART STANDARDS

• CREATING: Conceiving and developing

artistic ideas and work.

artistic work.

evaluating how the arts convey meaning.

and work with personal meaning and external context.

• PRESENTING: Interpreting and sharing • RESPONDING: Understanding and

• CONNECTING: Relating artistic ideas

MATERIALS/RESOURCES

• •

18" x 24" drawing paper, pencils Mirrors, yardsticks, scissors, glue, paper towels, baby wipes • Acrylic paints, paintbrushes, water dishes, paint palettes • Book: Chuck Close: Up Close, by Jan Greenberg and Sarah Jordan (DK Children; 1998) • DVD: Chuck Close: Close Up (L&S Video)

One of the things I love about this project is that, even with a very diverse group of learners, everyone can be successful at it. It’s so exciting to see students at all levels and abilities feel such pride in their work.

Double Self-Portraits in the Style of

Chuck Close

by Melissa Speelman

huck Close has always been one of my favorite artists. Not only do I love his strikingly inventive style of painting large-scale portraits, but I also love his story. Close overcame many obstacles in his life, including learning disabilities and a spinal cord collapse that ultimately left him paralyzed from the neck down. Close remains in a wheel-

chair today and uses a brush-holding device to create his amazing portraits, but his handicap does not define him as an artist. A well-known (and phenomenal) artist before his injury, Close simply adapted to his new set of circumstances and continues to create art at the highest level. One of the things that make him so amazing is the way he

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took every one of his hardships in life and turned it into something positively positive. I love that students can relate to him and find inspiration. After watching a documentary about Close, I learned that he created portraits of loved ones with his fingerprint. I was really moved by these amazing portraits and it gave me the idea to have students create “Double Self-Portraits.” Students would draw large-scale images of themselves and use their own unique fingerprints to complete the shading. After introducing the artist with a variety of resources, including a DVD Chuck Close: Close Up (L&S Video) and the book Chuck Close: Up Close, by Jan Greenberg and Sarah Jordan (DK Children; 1998), and some healthy dis-

cussion about his life and work, we start out with a lesson on portraiture and facial proportions. I take about two 50-minute class periods going through the anatomy and proportions of the human face while students draw a portrait along with me. Once the practice portraits are complete, students are given a sheet

of 18" × 24" paper and a mirror. They use the correct anatomy and proportions to create a large-scale self-portrait. As we draw the large portraits, we simplify some of the features. For example, students typically leave out small details like eyelashes. I also ask students to draw their hair as a shape and then draw 10–15 lines to show texture and direction. I

always choose a few students and use them as models to demonstrate how to draw different types of hair. I typically choose a girl with curly and one with straight hair, a girl with her hair pulled back into a ponytail, and usually one boy with super short hair and one with longer hair. Next, we review value and complete

some value exercises including the creation of a fingerprint value scale and a partial portrait (see worksheet). Students tackle the fingerprint value scale first. I pour about a quarter size dollop of black acrylic paint onto a paper towel. Students use the paper towel to dab excess paint off of their finger, they begin with the darkest value first and then gradually reduce the amount of paint on their finger to create the lighter values. This is a great way for students to experiment with how much paint they need on their finger to get the correct value. The right side of the worksheet is a partial portrait to practice applying values. Students will “outline” the pencil line in their portrait with pure black fingerprints, including the 10–15 lines that show direction/texture in their hair. I emphasize that we are fingerprinting, NOT finger painting. Students should never drag their finger across the paper, even if they have black hair it should still be printed. Once the fingerprint worksheet is complete, students are ready to apply fingerprint values to their final portrait. I ask students to create the black fingerprint outline first. I like to have students begin with the easiest values first, saving the face for last (it can be tricky to create the lighter values). We’ll start with the values in the hair. They are typically the easiest to apply. They should already have 10–15 fingerprinted lines that show texture and direction. Students will simply fill in whatever value is most appropriate for their hair color. After the hair, students will move on to the shirt, and then finally to the face and neck. Students should refer to their fingerprint value scale to determine which values are most accurate for the section they are completing. When students begin working on continued on next page

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the face, I advise them to add their lightest value first, regardless of their skin tone. It is challenging to control the lighter values. Students can always add more paint to darken the value later, but they cannot remove it. I also ask students to bump the value on the neck one shade darker than the face. Once the faces are complete, we

are ready to begin the background on a separate sheet of 18" x 24" paper divided into 3-inch squares. Measuring can be little tough for some students. I find that if we measure together as a group the grids are much more accurate. I will demonstrate marking off every 3 inches on one side of the paper, and then lower my yardstick to the opposite edge of the paper and repeat. I emphasize the importance of measuring and marking both sides of the paper and connecting the two marks for accuracy. After taking a close look at the individual painted squares that make up Chuck Close’s signature grid pattern, students begin painting each of the 3-inch squares with the same technique. I require students to include at least three mixed colors in each square. Most students begin by paint-

Each student’s finished art was as unique as their fingerprints.

ing a different color in each square as a background and then add mixed colors on top to create patterns. Once both works are complete, students cut out the portraits and glue them onto the painted background. I ask students to cut around the fingerprints as much as they can to keep the integrity of the fingerprinted lines. One of the things I love about this project is that everyone in my diverse

group of learners can be successful at it. It’s so exciting to see students at all levels and abilities feel such pride in their work. This lesson also hits on many of the foundational elements and principles of art. You could easily adapt the painted background to include color theory, tints, shades, etc. n Melissa Speelman teaches art at Sycamore Junior High School in Cincinnati.

Students complete a practice portrait, then draw a large-scale self-portrait using correct anatomy and facial proportions.

Next, they complete fingerprint value scales on worksheets, along with partial fingerprint portraits.

With their own unique fingerprints, the students first outline their portraits, then fill in the rest with various value shades.

After carefully measuring and gridding a second piece of 18" × 24" paper, students paint in each 3-inch square.

Inspired by Chuck Close’s style, students then create three or more mixed colors and various designs in each square.

After cutting as closely as possible around the fingerprint outlines, students glue their portraits onto their paintings.

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classroom use of the art print

Instructions: The monthly Art Print is meant to be removed from the center of the magazine, laminated or matted, and used as a resource in your art room. – Editor

Girl with Cat in the Birch Forest, Paula Modersohn-Becker primary Share the Ar t Print with students and begin a stor y-building activity using the image as a “springboard.” Write the words Who, What, Why, Where, and When in capital letters on the board. Ask students to of fer suggestions as to: Who is the girl with the cat? Who are the people in the background? Who/what is the cat looking at? What are they doing? What is the girl looking at? Why are they in the woods? What is her name? What is the cat’s name? Why is the girl holding the cat so protectively? Why does the girl appear sad? Where is scene taking place? Where are they going to/coming from? When is this scene taking place? Record all answers on a flipchart or board. Gather students on the floor and begin with an opening line, such as: “Once upon a time in the forests of Germany there lived a peasant girl.” Ask students to offer lines as you construct a stor y with a clear beginning, middle and end. After the stor y is completed, give students time to choose a part of the stor y to illustrate. Display the finished stor y and illustrations with the Art Print.

elementary Share with students that the Art Print is a portrait of a peasant girl who lived in Northern Germany at the beginning of the 20th century. Give students time to study the image and comment on how the artist depicted the girl. Ask students to offer words or phrases to describe the child. Point out the girl’s clothing, noting that the long dress and boots were typically of the period. Next, give students time to draw a por trait or self-por trait with a favorite pet. Encourage students to depict the subject (themselves or a friend/ relative) in clothing that is currently in style. Give students crayons, chalk pastels or watercolor paint to lay in color. Go to artsandactivities.com and click on this button for resources related to this article. www.ar tsandactivities.com

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middle school As students study the Art Print, explain that Paula Modersohn-Becker’s paintings are known by their thickly modeled surface texture. Often she would lay down a very thick layer of paint and scratch into the surface with a tool. Give students an opportunity to practice this technique using thickened tempera paint. (Do a Google search on how to thicken tempera classroom paint beforehand.) Offer each student a small board or canvas on which to apply the thickened paint. Using a variety of tools (start with the handle of a paint brush) encourage students to experiment with various textural patterns. Next, give students time to create a small painting, either representational or abstract, focusing on creating surface texture.

high school Share the Art Print with students and write the artist’s name on the board. Determine by a show of hands how many students have heard of this artist. Chances are that the majority of students will never have heard of the artist who has been referred to as “modernism’s missing piece.” Share examples of Paula Modersohn-Becker’s work via this Web page: wikiart.org/en/paula-modersohnbecker. Next, ask students to offer comments about her subject matter and style. Share with students that she is categorized as a German Expressionist, but her style is also linked to Post-Impressionism. Begin a research project looking at the artists of both of these modernist movements to determine where Paula Modersohn-Becker most accurately fits. Divide the class into halves, assigning one half to German Expressionism; the other to Post-Impressionism. After research concludes, give each group an opportunity to present and defend their position. To extend this project, challenge students to create a painting that synthesizes characteristics of both Post-Impressionism and German Expressionism. Create a galler y of student work, dedicated to Paula Modersohn-Becker. 19

APRIL 2016

Paula Modersohn-Becker (German; 1876–1907). Girl wth Cat in the Birch Forest, 1904/05. Oil on canvas; 37.8" × 32". Paula Modersohn-Becker Museum, Bremen, Germany

A&A art print notes

Women Artists

by Colleen Carroll

About the Artist approach themselves that way … . We think it all happened In John Colapinto’s 2013 New Yorker article, German painter in the ’70s. It happens with her.” (John Colapinto. “PaulaPaula Modersohn-Becker is described as “Modern Painting’s Modersohn-Becker: Modern Painting’s Missing Piece.” The Missing Piece.” He goes on to write: “With her bold experi- New Yorker. October 29, 2013) In 1907, PMB returned to Worpswede and became pregments in subject matter, color, modelling, and brushwork, Modersohn-Becker was among the painters, along with Picasso nant. She gave birth to her daughter, Mathilde. Tragically, and Matisse, who created modernism in the first years of the she died shortly thereafter from a pulmonary embolism. 20th century.” Pretty hefty (and accurate) praise for an artist After her death, the acclaimed poet Rainer Marie Wilke (1875–1926), celebrated PMB’s life and work in his poem that most people have never heard of. Paula Modersohn-Becker (PMB) was born in Dresden, “Requiem for a Friend (Paula Modersohn-Becker 1876– Germany in 1876. In 1888 the Becker family relocated to Bre- 1907).” In this excerpt, he captures the spirit of the artist men, in Northern Germany. Five years later, PMB enrolled who helped shape what the world considers modern art: That is what you understood: the ripe fruits. in a teacher-training program, where she stayed until 1895. You placed them in bowls there in front of you During this period she also received private art instruction. and weighed out their heaviness with pigments At 22, she moved to an artist colony in nearby Worpswede, where a group of artists were devoting themselves to creating art in a natural environment, apart from industrial city ABOUT THE ARTWORK life and the pressures the academic establishment. Here, Girl with Cat in the Birch Forest (1904/05) is an example PMB painted the birch forests and peasant farmers of Worp- of a subject that Paula Modersohn-Becker was particularly swede with astonishing maturity. drawn: the peasantry and forests of NorthIn 1899 she made her first journey ern Germany. The birch trees in the to Paris. She took art classes, spent Worpswede forests were particuhours in the Louvre studying old lar inspirations for Modersohn“Modersohn-Becker masters, and visited art galleries. Becker. Although in this image The works of the Post-Impresthe birches serve as framing was among the painters, sionists, particularly van Gogh, devices, the artist often used Gauguin and Paul Cézanne these white-barked trees as along with Picasso and Matisse, were a revelation to PMB. Her main subjects. brilliant still-life paintings are “The Worpswede peasant who created modernism in clearly inspired by Cézanne’s women, often with their infants, handling of space, color, and and the old women and children the first years of the surface texture. Art historically, from the poor house became her PMB is grouped with the German favorite models, and she recorded the 20th century.” Expressionists, although aesthetically picturesque landscape, the dark moors —John Colapinto, The New Yorker and stylistically her work relates more to the and stormy skies, fields with thatched cottages, French painters than to any of the Germans. woods of slender birch trees, and canals for transportIn 1901 she returned to Worpswede and married land- ing peat moss to Bremen.” (biography.yourdictionary.com) scape painter Otto Modersohn (1865–1943). From 1901 to Here, a young peasant girl protectively holds her cat 1907, PMB moved between the artists’ colony and Paris, as she looks off into the wood. Although of the peasant where she began to develop an aesthetic that places her class, she fills the frame and takes on a statuesque quality. firmly in the mix of modernism. In the background, tucked between the slender trees, are In 1906 she began a series of female nudes: portraits of additional figures: a single individual on the left, a mother mothers and children, and more daringly, self-portraits. Up holding a baby on the right. Who are they? Why are they in to this point no female painter depicted herself nude. As she the woods? A subtle sense of mystery pervades the image. was working on these groundbreaking pieces, she wrote, The artist’s distinctive brushwork, created by carving “I’m doing it. I’m doing what nobody else has done, I’m seeing into thick, wet paint, creates texture and depth similar to one it, I’ve got it.” of her heroes, Vincent van Gogh. And like van Gogh, the Art historian and PMB scholar Diane Radycki said, humble peasant, in the hands of Paula Modersohn-Becker, “Before Modersohn-Becker, there was no one. Women did not is transformed. 22

april 2016 • 83 years

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by Karen Skophammer

erms are all around us. It’s impossible to escape them. In the latest study, it was found that our phones have more than 25,000 germs per square inch residing on them. A school desk has 10 million. A keyboard in a computer lab—with all the people touching it—the germs must be astronomical! But, what does a germ look like? We could get all technical and scientific on that score, but being artists, my second- and third-graders used their creative powers to conjure up germs that live in the art room. We called them “Artful Germs.” After providing the children with some background

The Artful Germ

Paintbrush germ.

about germs, how they are all around us, how they can make us sick, and the importance of washing our hands, I asked the students to each envision a germ. This germ lived in the art room and fed off the supplies. Maybe the germ liked to eat erasers or drink paint. Maybe it nibbled on scraps of paper. Whatever the case, the germ was to be the student’s own creation. I handed out 12" x 18" white paper and the students sketched their germs in pencil. I asked them to keep in mind that the germs should incorporate principles of design, and we went over balance, contrast, emphasis, movement, pattern, rhythm and unity. We would be painting these germs with tempera, so the students knew they should think about how they would bring color and life to their germs as they sketched. When the germs were drawn, each student was given red, yellow, blue and white tempera paint. Giving Paint-mixer germ. them only the primary colors plus white encourages > The Glue Guzzler. mixing, and students learn how to mix the secondary and tertiary colors, plus tints of colors. (We had previously painted a six-slice color wheel, so they already knew how to mix the secondary colors.) Don’t you love it when their eyes light up because they have “made” a new color? As the students painted, we talked about texture and patterns created by the paint. What about contrast and emphasis created by the different colors of paint? When the Artful Germs were completed, the students self-evaluated, looking at the germs and deciding if they had successfully created balance, contrast, emphasis, movement, pattern, rhythm and unity. In the end, we had a variety of Artful Germs: paint-drinking germs, papercutting germs, glue-guzzling germs, glitter-gorging germs … the list goes on! The students stretched their imaginations, reviewed the principles of design, and brushed up on their painting skills. I considered the unit of study a success! n

LEARNING OBJECTIVES Elementary students will … • recognize the importance of washing one’s hands. • mix secondary, tertiary and tints of colors, using the primary colors, plus white tempera paint. • review the principles of design and create balance, contrast, movement, pattern, rhythm and unity in their artworks. • successfully create/design and then paint an “art germ.”

NATIONAL ART STANDARDS

• • •

Creating: Conceiving and developing artistic ideas and work. Responding: Understanding and evaluating how the arts convey meaning. Connecting: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• Tempera paint (primary colors, plus white), paintbrushes, water cups • Paper, pencils The Gluestick Licker. www.ar tsandactivities.com

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Now retired, Karen Skophammer taught art in Iowa public schools for 31 years. 23

n the past, I have taught lessons inspired by Vincent van Gogh’s sunflower paintings in a variety of ways. One time, my students planted sunflowers in the spring. When the kids returned the next fall, we used the sunflowers for observational drawings and paintings. Another year, I taught a mixed-media sunflower collage that was more step-by-step. For a painting unit this year, I wanted my first-grade students to be inspired by van Gogh’s sunflowers, but also understand that each artist has his or her own style. I intended for the students to know that they should feel free to use and develop their own artistic voice as well. To begin this unit, I showed two paintings of sunflowers

Keerath

LEARNING OBJECTIVES Primary-level students will … • learn that artists develop their own style. • learn that artists sometimes create art that honors someone or something. • discuss the differences and similarities between two artworks of a similar subject. • develop hand/eye coordination through painting and collage. • explore several painting techniques. • be introduced to two famous artists and their styles: Vincent van Gogh and Friedensreich Hundertwasser.

NATIONAL ART STANDARDS

• • • •

Creating: Conceiving and developing artistic ideas and work. Presenting: Interpreting and sharing artistic work. Responding: Understanding and evaluating how the arts convey meaning. Connecting: Relating artistic ideas and work with personal meaning and external context.

MATERIALS/RESOURCES

•

18" x 24" colored construction paper, 9" x 12" white construction paper, assorted construction paper in other sizes • Pencils, erasers, scissors, glue • Black oil pastels • Paint daubers, tempera paint, paintbrushes, water cups • Circular plastic lids, cardboard tubes • Images: Vincent van Gogh’s Still Life – Vase with Twelve Sunflowers (or any of his other sunflower paintings), and Hommage a Van Gogh, by Friedensreich Hundertwasser • Books: Getting to Know the Famous Artists: Van Gogh, by Mike Venezia (Children’s Press; 1989); and Hundertwasser for Kids: Harvesting Dreams, by Barbara Stieff (Prestel; 2008)

for the class to discuss. Since I did not have prints of these artworks, I projected them from my computer. The first was Still Life – Vase with Twelve Sunflowers, (1888) by Vincent van Gogh (1853–1890), and the other was Hommage a Van Gogh (c. 2000) by Friedensreich Hundertwasser (1928–2000). We talked about the word “homage” and why the Hundertwasser artwork was one. “Homage” means something that is done to respect or honor someone or something. How is the painting an homage? Why would an artist create an artwork as an homage? Who else could an artist honor through their art? Next, we discussed how the artworks were similar and how they were different. The students described the characteristics of each of these paintings. Both artists painted a vase of sunflowers in their own recognizable style. Van Gogh used thick, bold brushstrokes. Hundertwasser also used bright, bold colors, but he incorporated spirals and rhythmic lines (typical of his style). This painting unit was taught over the course of four 40-min. class periods. The first two classes were spent painting flowA first-grade student uses a paint ers and the last two dauber to add color to his flower. classes were used to collage the flowers onto a background. Throughout the process, I demonstrated the techniques for the children, but encouraged them to take the idea to make it their own. They could paint sunflowers like the Cardboard tubes work great for examples shown, or stamping flower petals with tempera. a p r i l 2 0 1 6 • 83 y e a r s

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by Marica Beckett they could paint flowers of any color or type they wished. It was their choice. If some children finished early, they also could make more flowers to add to their artworks.

During the third and fourth class PERIODS, the children selected their favorite flowers (if they had multiples) and cut them out neatly. Vases were then cut from construction paper and glued to backgrounds of colorful, painted construction papers, which students had created earlier in the year. Strips cut from the painted papers were also available for the students to glue down as borders, if they wished. Some of the children finished early and chose to add paint dots to their backgrounds. The students were very engaged in this unit because they Go to artsandactivities.com and click on this button for resources related to this article. www.ar tsandactivities.com

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Violet

> > >

Flower #1: I demonstrated how to use a black oil pastel to draw a flower that resembled Hundertwasser’s, using spirals or repeating lines. Many of the kids used this style, but others drew their own way. Color was added by painting with paint-dotter markers (also known as Bingo daubers). I like using these because the colors are vibrant and there is very little mess! Flower #2: For the second flower, we traced a circle shape with pencil using a round plastic lid to make the center of a sunflower. We then slightly flattened cardboard tubes to an oval shape and dipped the ends of the tubes in tempera paint. With the end of the tube coated with paint, we stamped petals around the circle. The children chose any colors they wanted and did not worry about painting realistically. They could use a paintbrush to fill in the center and the petals, if desired. Flower #3: We drew our final flower with washable markers (I have found that Crayola or Mr. Sketch work well for this) and then blended the colors with a paintbrush dipped in water.

Varnika Erin

were able to try out several new ways to paint and had a lot of freedom to explore. To expand the study of these famous artists, the “Getting to Know the Famous Artists” series has a book and video about Vincent van Gogh that is appropriate for elementary students, and the book, Hundertwasser for Kids: Harvesting Dreams, by Barbara Stieff is a great reference for the art classroom. n Marcia Beckett teaches K–6 art at EAGLE School in Madison, Wisconsin. She shares art and teaching ideas on her blog: www.ArtisBasic.com. 25

recent Design Thinkers Conference I attended in Toronto featured a staggering roster of speakers who are among the leading players in the communication and design industry—and more importantly, they were all willing to share their creative experiences to inspire over 1,800 attendees. One of the highlights was a presentation by graphic designer Aaron Draplin, “Tall Tales from a Large Man.” Portland, Oregon’s Draplin came as advertised—he was literally larger than life! He showed samples of his incredible body of work that showcased his creativity, homage to Swiss-grid thinking and the entrepreneurial spirit of his state posters and popular Field Notes. In his talk, Draplin encouraged young designers to check out the “unsung heroes of design” that

exist in thrift stores, antique shows and printed ephemera. He said he is inspired by the faded one-color matchbooks of the past, and his artwork celebrates the one-color restraint designers exercised before the advent of digital printing. Draplin contended that one could really learn a lot about an individual, by having them draw representational images of a hundred things they were passionate about. Draplin even brought with him a special edition poster that depicted things he really liked about Canada to prove his point— everything from Canuck Hollywood icons, some of

Emily D.

Griffin

Emily N.

Things T Really Like T

A Monochromatic Inventory by Irv Osterer 26

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Learning Objectives High-school students will … • gain an appreciation for the work of Aaron Draplin and his significant contribution to the design field. • experiment with the placement of images in a grid structure. • explore the creative potential of the restricted palette. • arrive at a composition that incorporates their favorite consumer goods, services, foods and facets of popular culture.

MaterialS/RESOURCE

• •

Angel

Sketchbooks, 4H pencils Markers, brush pens, ink, acrylic paint, colored pencils/pencil crayons, watercolor, paintbrushes • 8" x 10" white card stock • Aaron Draplin’s website: draplin.com

Alana

our unique chocolate bar wrappers and regional sports logos. I thought this project would be a great challenge for my senior graphic design class. It would be fascinating to see the kinds of things my students would choose to illustrate and integrate into a large composition when they had a virtual “carte blanche”. Students were first asked to use their sketchbooks to build an inventory of images to use in their projects. I asked them to be sensitive to all forms of visual expression. They were free to use their smart phones and the Internet to find visual references, but all of their images had to be hand rendered and in the spirit of Draping’s homage to the commercial art of the 1930s, ’40s and ’50s. The class was permitted to use any combination of black, white, and one color for their work. The restricted palette was initially seen as a stumbling block, but after showing the class a sample of Draplin’s work, the students realized that there was great potential with this approach, where color would act as a strong unifying element for their project. The students EASILY arrived at series

of images they felt must be included in their personal posters, and it was interesting to see some of things they had in common. The Marvel comic universe presented itself strongly in many projects, which should come www.ar tsandactivities.com

as no surprise from a generation that flocks to Comic-Con conventions and films from the science fiction/fantasy genre. The impact of video games, and certainly the influence of Facebook, YouTube and Twitter, were also prevalent. Hobbies, personal interests, favorite foods, book titles and fashion icons were included in many works. Having all the components for their project, students then had to organize and sketch them into place using a 4H pencil on 8" x 10" card stock. Some chose to stay to a ver y strict grid motif, but the more successful projects incorporated overlapping and cropping of images, and effectively

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used positive and negative space. These hand-drawn reflections of pop culture proved a worthwhile exercise for my students. It established some creative distance from the standard Internet cut-and-paste exercises employed for many projects in their mainstream high-school experience. The surprise was how much students enjoyed using a restricted palette and discovering the incredible creative potential in this approach. n Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada. 27

A Familiar Face: Exercise W

atercolor painting relies on a variety of principles relating to brushwork, control and the physics of water. While at first glance it seems very simple, but watercolor can be quite complex. Making use of a range of application techniques will raise the image from a simple painting exercise to a serious watercolor work. High-school students will advance in their steps to become artists as they learn about the ways to create paintings with watercolors in this fun, but meaningful approach. Whenever introducing or experimenting with a new medium, you should always allow time for experimenting. Students need to interact with the medium, the brushes and the techniques. In this case, have plenty of brushes (good ones), salt, sponges, facial tissues, spray bottles—and any other tool that deals with water and can also create interesting effects. Key tools that will support watercolor art and help students explore this new world are listed in a sidebar on this issue’s A&A Online Web page. A great project to do as a first tr y

Leo’s finished portrait.

Selena’s finished portrait.

at watercolor painting involves working with recognizable shapes. And, what is more recognizable to teenagers than themselves? To begin, photograph each student with a digital camera, in front of a plain background and under a single light source. Using one light source on the subject is the easiest way to create the illusion of a form. The student photos are then opened in Photoshop and converted, using the “Threshold” command in the “Image > Adjustments” drop-down menu. The Thresh old function turns the image black

Photoshop “Threshold” image.

LEARNING OBJECTIVES High-school students will ... • experiment with watercolor techniques and interact with the medium and brushes. • learn new ways to create using color and shape. • create a watercolor self-portrait.

MATERIALS

Loading the brush for application to watercolor painting.

• • • • • •

Digital camera, printer, access to computer with Photoshop ® Graphite pencils Watercolors, palettes, paintbrushes, Watercolor paper, watercolor board Salt, sponges, facial tissues, spray bottles Stapler and staples

Go to artsandactivities.com and click on this button for resources and links related to this article. 28

Selena works on a cool color scheme.

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Christian transfers her Photoshop image to the watercolor paper.

A layer of clear water is applied before the paint.

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for First-Time Watercolorists

by Steve Lappe

Diener’s finished portrait.

and white, leaving a recognizable abstract shape of a student’s face, which can be adjusted to one’s liking using the scrubber/slider beneath the image. The overall shape/ contour is the key to recognizing the identity of the portrait. The converted photos are then printed out. The image shape is then transferred to the watercolor paper by tracing, the grid technique or by using a projector. Students then apply clean water to the shadow shapes of their faces on the watercolor paper. The brush loaded with water follows the edge of the shadow shapes. This not only prepares the surface to accept pigment, it also allows the students to take a practice run-through with the brush. Once the shape section of the paper has been dampened, students mix the paints in their palettes and apply color by simply touching the loaded brush to the surface of the wet paper. The color from the brush leaches out, onto the paper. Minimal brushstrokes are required for working with this technique. Students then fill in the shape with similar colors, so www.ar tsandactivities.com

83 y e a r s •

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Martha’s portrait in warm and cool colors. Photoshop “Threshold” image.

they mingle on the paper without blending. (Students are advised to stick with a simple color scheme, such as warm or cool.) It is impor tant they rinse the br ush before mixing and applying a new color. Par t of the skill when using watercolor is to make clean, natural color changes without any muddiness. Muddiness is caused by over mixing color, creating a brownish-gray appearance that overpowers the intended color. The beauty of watercolor art and the ability to apply watercolor techniques are meaningful to a student’s art education. The thrill of taking an image of yourself—or someone you admire—and changing it into a work of art is exciting and motivating. This watercolor project teaches students a new way to create using color and shape, and another way for them to become artists. n Steve Lappe is an art instructor at West Leyden High School in Northlake, Illinois. 29

Clay Tips from the Gamble Studio

David and Tracy Gamble

share a renovated church studio and home in Plainfield, Ind. With 50 years of experience between them, they teach clay workshops throughout the country.

Surface Decoration: Carving

here are multitudes of techniques for surface decoration. This tip is for carving into leatherhard clay with students in your classroom. Carving can be as simple or as detailed as students want to make it. The examples shown here are are on wheel-thrown pots. Handbuilt pots can be carved on, too. Use trim tools, pens, pencils, toothpicks, etc., to carve decoration on leatherhard clay. Leave bits of clay in carving to brush off when clay is bone dry. Once clay is bone dry, and before bisque firing, brush off crumbs of clay left behind so there are no sharp bits. Bisque fire and then finish with glaze.

Finished bowl with carved, repeating design.

Trim tool used to carve repeating pattern around the rim of a small vase.

Paragon kilns help students create priceless ceramic treasures

eramic ware survives the test of time. Ancient Greek and Roman pottery is now treasured artwork. The 7th and 8th grade stu- Seventh and 8th grade students at Brandenburg Middle Schoolâ&#x20AC;&#x2122;s dents at Brandenburg Middle Classical Center in Garland, Texas. Shown in both photos is the School in Garland, Texas have digital Paragon TnF-28-3 12-sided kiln. made ceramics that may one patented spring-balance lid day become family heirlooms, treasured for feels so light that you can generations. They worked under the guid- lift the lid with one finger. ance of Gennell Murphy and Christy Call or send email for a Bautista. The ware was fired in a Paragon free catalog. digital TnF-28-3 kiln. TUV Tested to CSA & UL Std 499

Paragon kilns have been helping students create ceramic art since 1948. Our kilns are designed for the harsh environment of the school, where they are often neglected. They fire day in and day out with little maintenance. They are workhorses. The top row of wall bricks in the TnF-28-3 is blank (no element grooves) to prevent brick damage caused by leaning over the kiln. The 30

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media reviews

AMERICAN ARTIST GUIDE TO PAINTING TECHNIQUES, by Elizabeth Tate and Hazel Harrison. American Artist, $19.95. K–12 visual arts teachers will find a wealth of ideas in this book to adapt for their students. With hundreds of vibrant photographs, the book is for anyone from novice painter to the ver y experienced artist. It’s a thorough reference with clear instruction on painting with watercolor, oils, acrylics and pastels. Rightfully, the authors have omitted the seldom-used

AUDIOVISUAL BOOK/PRINT Jerome J. Hausman • Paula Guhin

egg tempera medium, although they do include another paint medium— gouache—that is often overlooked. The gouache wash-off technique is particularly impressive. So, too, is the section on how to create atmosphere and weather effects. Authors Elizabeth Tate and Hazel Harrison are both practicing painters who understand the challenges of painting such prob-

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lematic subject matter as seascapes, portraits and more. While they don’t delve into the myriad supplemental painting mediums available to artists today, they do demonstrate the stretching of canvas and paper. They even include step-bystep instruction on how to make your own canvas boards. Consider this resource for your home librar y, as well as for the classroom or school librar y.–P. G. JUST PAINT IT!, by Sam Piyasena and Beverly Philp. Barron’s Educational Series, Inc., $18.99. Billed in the subtitle as “the world’s most enjoyable painting course, ever,” this bright, rousing book can be useful to pro and amateur painters alike. The authors intend to “set free your creativity.” Some of the activities are so liberating, in fact, that the results are purely accidental. Also, most K–12 visual arts educators are already familiar with scratch art, stamping dots with pencil erasers, and several other tasks in the book. But there is much that is fresh, too (“Press the Flesh” comes to mind). Painting the form of a wad of chewed gum is another imaginative idea. However, some might find an activity of portraying the horror of nightmares too disturbing. That said, Just Paint It! is loaded with confidence-builders. Except for a brief concession to digital tools, the painting projects call for traditional materials. There are quotations throughout, a glossar y, and sidebars: “See Also” directs readers to pages with related lessons, and “Look Up” lists artists to investigate in relation to each exercise. The die-cut cover is eye-catching, too. To paraphrase Vincent van Gogh, if you think you can’t paint, then by all means paint!–P.G.

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shop talk

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TESTORS Testors’ premium detail acrylic paint set includes different colors packaged in 0.25-ounce glass bottles. For use on craft, hobby projects, woodworking and more, the set also includes two empty bottles with adapters to fit Aztek airbrushes. Acrylic-based paint works with all airbrushes without the need to add thinner to the paint. Non-toxic, these paints can be used by children 8 and above. These paints dry to the touch in 5 minutes, cure in 24 hours, and clean up with soap and water.

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RICHESON ART This heavy-duty rack from Richeson Art makes classroom storage easier. Each rack holds 12 sets of studentgrade tempera paints. Each tempera set contains eight colors, including Red, Yellow, Blue, Green, Purple, Brown, Black, and White, and includes a brush. Rack measures 20.5" × 13"× 7.5". The rack and empty replacement trays may also be purchased separately.

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Claude Monet (French; 1840â&#x20AC;&#x201C;1926). Bridge over a Pond of Water Lilies, 1899. Oil on canvas; 36.5" x 29". The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest

STUDY PRINT

of Mrs. H. O. Havemeyer, 1929. Public domain.

“You would hardly believe how difficult it is to place a figure alone on a canvas, and to concentrate all the interest on this single and universal figure and still keep it living and real.” — Edouard Manet

ow that spring break is over and we are all refreshed, it’s time to concentrate on painting and composition. As Manet stated, composition is the difficult part in painting. Here are some tips to help to help you through the difficulty we often have teaching painting and composition.

tip #1

Warm or Cool Colors? The pri-

mary students I taught were required to learn the color wheel and use the information they learned to paint several pictures. Of course, many of them wanted to combine a primary color painting with complementary colors, or neutral colors with warm colors. When learning color theory however, they were asked to do one painting of each

tend to arrange their elements in a line in the foreground of their picture. If we teach them the rule of thirds early in their art career, or explain that in art rules were meant to be broken, we hope that as our students mature, so will their artworks.

tip #3

It’s all about the Brush Cher yl Maney, Visual Arts and Dance Curriculum Specialist from Concord, N.C., always taught her students the parts of the paintbrush first. Too often, we tend to focus on the paint and not the tool. With this said, she would show them the handle and how it gets a little thicker before the ferrule and then the brush. She would explain about the hair being made from different types of natural or synthetic fibers. The hair should never get messy by going back and forth. It’s like combing or brushing your own hair. You pull the comb or brush through, not push it. The ferrule is no mans land. No paint and no

Glenda L

ubiner

for them to understand the mixing process or they might get mud. Prior to this lesson we do a short assignment of mixing complementary colors with different ratios of color.

tip #5

To Kiss or Not to Kiss? That is the Question! When we talk about

composition, it is important that your students understand the placement

Break Out the Brushes of the basic color theories. I do make a color theory unit mandatory in middle school and when they are preparing for their final painting I do explain that although they can use many colors in their paintings they should concentrate and or emphasize one category based on the color wheel.

tip #2

Space … Where No Element Has Gone Before! Well … not really true,

but one thing we must remember to explain to our students is that elements are going to be more interesting and appealing in an art work if they are spaced in a random fashion rather than lined up in an evenly spaced line or row. Younger students ATTENTION READERS If you would like to share some of your teaching tips, email them to: triedandtrue@artsandactivities.com

fingers ... Lastly she would teach her students how to wash the brush so that they would last a long time.

tip #4

Double Dipping IS OK! We definitely don’t want to double dip when eating, but try double dipping your paintbrush in two different colors. We all know that color theory is important when learning how to mix colors, but it might be nice to have your students try something different. For elementary students I would put three groups of analogous colors, plus white, in different parts of the classroom. Students would be able to choose one group of colors to create a painting, but they had to double or even triple-dip their brushes. It is a nice way for elementary students to mix colors. For my middle-school students, it becomes more of an experiment in mixing colors, as they really have to think before double dipping. It is important

of elements. When two elements are next to each other and touching, we can consider that “kissing”—not great for making a composition interesting. To demonstrate this lesson, I cut out several large shapes and arrange and rearrange them on my board until my students think the composition has a good aesthetic. I make my students do this as well. I find that it has really helped them to create some very interesting pieces. Happy birthday to artists Maurice de Vlaminck (April 4, 1876), , Raphael (April 6, 1483), Victor Vasarely (April 9, 1908), Leonardo da Vinci (April 15, 1452), Elizabeth Catlett (April 15, 1915) Elisabeth-Louise Vigée-Le Brun (April 16, 1755, and Édouard Manet (April 30, 1832). 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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AA1604

Stitch it Up! Lesson Plan for Grades 5-12

Step 1: Lightly sketch composition onto Aida cloth, then apply washes of black and gray acrylic paint.

Step 2: With a blunt metal needle and embroidery floss, add colorful accents!

Beautiful embroidered accents breathe life into a simple painting! Applying washes of black and gray acrylic paint to a traditional stitchery cloth can create a striking painting. Now add pops of color with some simple embroidery stitches and watch your painting come to life! DickBlick.com/lesson-plans/stitch-it-up ®

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